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clearness, consistency, symmetrical arrangement of themes, keys, and episodic matter-he was by no means as successful as he could have wished. Though gifted with an abundant flow of ideas, Schubert was wanting in the faculty of condensation and methodical disposition of parts. He accepted all that presented itself to his fancy, rejecting nothing as inappropriate or superfluous; and then, while rarely insipid, nay almost invariably interesting, he is too often diffuse, obscure, and exaggerated. Occasionally, in place of developing the principle subject of a movement, he conducts an accidental phrase, a simple figure of ornament, a fragment of remplissage, through a labyrinth of progression and modulation, until the ear becomes fatigued, and satiety gives way to revulsion. In six grand sonatas for the pianoforte solus-which if length, vastness of proportion, and ambitious endeavour were enough to constitute perfection, might rank with the finest of Beethoven, or the most impassioned of Dussek-exuberance of detail, want of connection, excessive modulation, redundant episode, strange and unnatural harmonies, and other glaring defects, lessen the impression that would otherwise be produced by many exquisite and undeniable beauties. A grand duet in A minor, also for the pianoforte, exhibits the same inconsistencies, amidst merits that are not to be contested. The minor works of Schubert for the same instrument-especially some marches and short characteristic pieces-are remarkably attractive; but in these, not being limited to set forms, his ideas are presented in their primitive simplicity, without any attempt at development. Here, for the reasons thus briefly stated, Schubert is quite as happy as in his best compositions for the voice.

For all who have a touch of romance in their dispositions, the pianoforte works of Schubert, like everything else that came from his pen, must possess a strong measure of interest. There is something fascinating in the tone of melancholy that marks even his smallest effusions, while the unquestionable originality of his ideas places him altogether beyond the pale of ordinary thinkers, and extorts forgiveness for the absence of those qualities which have conferred durability as well as charm on the faultless models bequeathed us by the great masters. We have said enough to explain why Schubert-like Beethoven, Weber, Mendelssohn, &c.—should be assigned a place apart from his contemporaries; but the peculiarities that have won him this distinction have, in another sense, prevented him from exercising any decided influence on the progress of the art, of which he was a gifted, if incomplete, disciple.

A

GENTLEMAN connected with the Norwich Festival has written to The Times, communicating the extraordinary fact, that for singing at two concerts last year at Bradford, Mlle. Titiens and Signor Giuglini received no less than £600, which, as any one with the slightest arithmetical genius will at once perceive, is at the rate of £150 each for a single concert. People who have voices like ravens are amazed to hear of these large sums being paid to those whose privilege it is to delight the public with their singing, and ask how it is that mere histrions and cantors receive such exorbitant wages to what are given to ministers, judges, and the wisest of the land. Wisdom, however, has always been what the writers of MoneyMarket and City Intelligence articles call "a drug in the market." We have surely plenty of barristers, and it is notorious that even an unsuccessful counsel will make a

capital judge; while, as for ministers, is it not easier to form a cabinet-aye, half-a-dozen cabinets-than to get up one really good opera company? Besides, there is nothing new in singers and actors being remunerated at these high rates, and therefore nothing at which any one need be astonished. Great artists have always been regarded as luxuries, and as luxuries which must be paid for so dearly that it is only in the very richest countries they can ever be secured. In Italy we no more expect to find the most renowned vocalists than to find the finest fish at the seaside, or the best growths of claret at Bordeaux; they are forwarded and exported without delay to those places in which there are the most profitable markets for such commodities-that is to say to Paris, to London, or to St. Petersburg.

We make a remarkable fuss about a few great artists being paid such enormous salaries that if, by a lucky chance, they retain their powers and their reputations for a dozen years, they may perhaps be able to lay by enough to enable them to live for the rest of their lives at the rate of a thousand a year. Why in ancient Rome nearly all the popular players reckoned their fortunes by thousands and millions. Esopus, who was not only the most famous tragic actor, but also the most prodigal spendthrift of his time, is said to have left twenty millions of sestertii to his son-something like one hundred and sixty thousand pounds of our money, and this the mere wreck of a fortune. Roscius, by the admission of his illustrious advocate, gained one year with another an annual income of half a million sestertii, and yet he often performed for nothing, as a means (said the malicious critics of the day) of currying favour with the public. Why then should Mlle. Titiens and Signor Giuglini not have now and then their hundred and fifty pounds a night? Vegetating on our hundred and fifty pounds a year, we say coolly and deliberately that we do not regret the large sums that are paid to great artists, but only that there are not more great artists to command, if possible, even larger sums..

The Operas.

HER MAJESTY'S THEATRE.-The last night of the "Subscription" has come off, but by no means the last night. The bonâ fide public, who take places on the eve of performance, or pay their money at the doors, are virtually just as much subscribers as those who hire boxes and stalls in advance, for what is conventionally termed "the season," and for these numerous and not inconstant patrons, the lessee of Her Majesty's Theatre continuing to provide entertainments, the attractions of which are enhanced by the co-operation of new singers and dancers of eminence, it is as well to postpone our accustomed "review" until everything has been brought forward originally announced in the prospectus, or which the restless activity of Mr. E. T. Smith may still have in store, to multiply the incidents of this his very remarkable" first campaign." "On Saturday one of the pleasantest of comic operas, La Figlia del Reggimento, was produced, with the celebrated French (or Belgian?) singer, Mad. Marie Cabel, as the heroine; Signor Belart, the capital Spanish tenor, as Tonio; and Signor Ciampi, the new Italian "buffo," as Sulpizio. The impression created by Mad. Marie Cabel in 1854, when an Opéra Comique troop (principally from the Théâtre Lyrique) gave a series of representations at the St. James's Theatre, can hardly have been forgotten. Among the parts then essayed by this admirable lyric comedian was Maria (in the French, and original, version of Donizetti's sparkling work), her impersonation of which was justly eulogised for its spirit and vivacity. But little, if at all, inconvenienced by

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Jullien's concerts, and the Drury Lane Italian Opera) to the general public; so that, now the rumour that the engagements of Mad. Alboni and Signor Mongini were terminated proves false, and that future representations of Oberon-the most genuine and solid success of the season-no more depend upon the readiness and ability of Mad. Borghi-Mamo and Signor Giuglini, to get up the part of Fatima and Huon, there are still, with Mlle. Titiens and the rest, attractions enough to all intents and purposes. It might be ungracious to add that those whose duty it is to report (to say nothing of their readers) would be none the worse for a brief interval of repose, more especially as the temporary secession of the Italian artists is to be shortly followed, if we are wellinformed, by the advent of another troop of singers from all climes, expressly engaged for the performance of English opera. Although in reality Signor Mongini was allowed to take his flight homewards, his engagement having concluded, and had even, we learn, reached the northern capital of Italy, so great was the disappointment expressed by the public at the withdrawal of Oberon, so many the enquiries about its next repetition, that Mr. Smith had no alternative but to recall him, and he at once telegraphed to Milan for the great tenore robusto, and had him back to London by the wires; whereupon Oberon was given on Thursday, for Mr. Smith's benefit, and will be repeated to-night and on Monday, and no doubt some few nights more, before the allow Signor Mongini to depart in the midst of the triumphant sucess of Oberon, especially as no one could be found to substitute for him in the part of Sir Huon; but it was good policy and quick work to have him back again, and thus knock down grumbling and disappointment. "A good beginning," observes a first-rate authority, "is the half of all." A good ending is better, say we; and Oberon promises to wind up Mr. Smith's first season at Her Majesty's Theatre with astonishing brilliancy and éclat.

the trammels of a foreign language, Mad. Cabel, in the Italian adaptation of La Figlia, exhibits, with signal felicity, the very same qualities that won the admiration of good judges when, her own native tongue being the medium of communication, her task -taking into account the genuine accomplishments she possesses, both as singer and actress-was comparatively easy. Mad. Cabel's voice has lost none of its intrinsic charm, her vocalisation none of its "finesse" and bird-like volubility, her demeanour none of its indefinable grace-artfully studied, though to all appearances unstudied (a stereoscopic illustration of the "simplex munditiis), her bye-play none of its piquancy and animation. Coming immediately after Mlle. Piccolomini, who offered a portraiture of the Vivandière, amid its uncommon sprightliness, a little too saucy and "theatrical," the Maria of Mad. Cabel may at first sight appear somewhat wanting in sentiment, vigour, force, and even spontaneity; but a closer acquaintance will possibly lead to the conviction that, if less theatrically striking, it is truer to the nature of "things in general," and vivandières of gentle blood in particular. In her execution of the music, the thoroughly practised mistress of the French style of singing is everywhere evident; and if her farewell to the regiment (Act I-" Convien partir") lies open to the reproach of being less pathetic than the situation demands, all the rest-from the duet with Tonio to the final airis irreproachable. The cadenza to the air of Caffariello, which Maria humours the old marchioness by trying over at the piano-rere-season be brought to a termination. It was ill-advised to forte, was set off, on the present occasion, by a variety of embellishments and tours de force-including an endless succession of shakes in the higher register, achieved with invariable perfection -which gratified and astonished the ear in an equal measure; and while Mad. Cabel's whole performance was an uninterrupted success, this was perhaps her most brilliant display, and brought down "thunders of applause." Signor Belart has rarely, perhaps never, more honourably maintained his claim to be regarded as one of the best tenor singers now before the public, than by his uniformly correct and effective execution of the music of Tonio, to which, by the way, he adds, for the first time in England, an air (in the second act) always introduced at the Opéra Comique, but invariably omitted from the Italian versions, at Her Majesty's Theatre and elsewhere. This air (too genuine to be neglected) he sang to such perfection on Saturday night, that it was impossible to decline the unanimous encore it elicited. Signor Ciampi fell somewhat short of what had been expected of him in Sulpizio. His "make up" was extravagant; while in his performance there were too many traits his frequent use of which encourages a belief that they are little better than "mannerisms." It is to be hoped this gentleman-who produced so marked an impression on the occasion of his début at Her Majesty's Theatre-may not turn out, in emulation of the man who was only well acquainted with one book, a singer who can only excel in one part; but certainly, there are strong touches of "Dr. Bartolo" in whatever he attempts. Signor Arditi presided in the orchestra, and the chorus-singers exhibited so much more precision than we have been accustomed to, as to warrant a conclusion that if those operas in which they have to take part, were brought out with less indiscriminate haste, a far more flattering account might be given of them. True, the choruses in La Figlia are not nearly so elaborate as those in the Huguenots and other operas; but this merely proves that the Huguenots, &c., require more careful preparation.

A word must record the enthusiastic reception awarded to Mad. Amalia Ferraris, who, since her last appearance in this country (nine or ten years ago), has obtained a European reputation as a dancer of the foremost rank in the highest school of art, and who now takes the place, at the grand opera in Paris, successively occupied by such favoured daughters of Terpsichore as Carlotta Grisi, Cerito, and Rosati. In a pas de deux with M. Chappuy (also a new comer), from the ballet of Orfa, originally produced for Cerito, Mad. Ferraris more than justified all that had been reported of her very exceptional talent, accomplishing feats that, one after the other, raised the admiration of the house. Does the lessee of Her Majesty's Theatre intend bringing forward any more "stars" before the termination of the present season? It is to be hoped not. His "cheap prices" have commenced, and the second and third tiers of his private boxes are thrown open (as at

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ROYAL ITALIAN OPERA. The second performance of; the the third on Monday Prophete, on Saturday, was a great improvement on the first; and an extra night-a still greater improvement on the second. This was no more than what might have been expected from music so elaborate and difficult, and from the working of such complicated machinery as is involved in the scene department. Such an opera, indeed, would necessitate at least a dozen full rehearsals at the Grand Opéra in Paris, in the place of the solitary ONE which Mr. Costa thinks himself fortunate in obtaining at Covent Garden. They manage these things better in France. Some people, however, are inclined to think that our English system works better in the end. If the public really knew how little dependance is to be placed on first performances of operas at least of French grand operas and the larger works of the great Italian and German masters they would be in no hurry to take their places the first night, but rather wait until such time as the members of the orchestra would feel more at their ease, the singers would get rid of their timidity, and the carpenters be enabled to work the scenes more smoothly. That the performance of the Prophète on the first night was not unexceptionable is not to be wondered at. The surprise indeed is that it was so admirable, taking all things into consideration. Csillag has added a new leaf to her already fairly-won laurel wreath by her impersonation of Fides, which proves her, if proof were wanting, to be a tragedian of the first order. If the music does not invariably adapt itself to her means, it is not her fault, but that of M. Meyerbeer, who wrote it for one of the most Tamberlik is every way masterly-not only one of his finest The Jean of Signor exceptional voices of modern times. performances, but one of the most striking on the lyric stage. Mlle. Corbari, too, sensibly improves, although the music is in parts too high for her. A more charmingly-acted and more graceful looking Bertha, however, we have not seen. Had the Prophete been brought out at the height of the season instead of a period when London is decimated, it would have filled the theatre cram-full for a dozen nights in succession. Mr. Gye will now have to wait until next year for the virtual success of the Prophete, which, with such a cast and such unparalleled magnificence in the costumes and decorations, it requires no prophet to foretell, will be triumphant.

Mad.

On Tuesday, Rigoletto was announced, but was postponed until this evening, and Martha given instead. Mad. Miolan-Carvalho will make her first appearance to-night as Gilda in Martha, and Signori Mario and Ronconi sustain their favourite parts of the

Duke and the Jester.

Miss Rae appeared for the first time in the duet "Trabe, Trabe," by Kucken, and acquitted themselves in a manner to call for the warmest applause. The former young lady afterwards sang a German lied by the same composer; and, though evidently labouring under considerable nervousness, confirmed the good opinion A Grand Concert was given on Wednesday evening, consisting she had already excited by the purity of her voice and the of a miscellaneous selection, and Gluck's Opera, Orfeo e Eurydice. correctness of her style. Miss Rae was enthusiastically encored In this miscellany the most noticeable points were the overture to in Wallace's "The Bellringer," which she gave with charming Oberon, executed superbly by the band, and the "Oath of effect. Miss Eleonora Wilkinson, a young lady, a pupil of Liberty," from Guillaume Tell, given with great effect by Signors Garcia's, who has we believe not as yet made her regular public Tamberlik, Lucchesi, Polonini, Tagliafico, Patriossi, M. Faure, appearance, made a complete succès in the polacca "La Placida orchestra, and chorus. The music of Gluck makes its way Campagna," which was encored. Later in the evening she was slowly, but steadily and surely. The fourth performance of equally happy in Mendelssohn's beautiful song "Through the Orfeo, on Wednesday, was by far the most interesting. The Wood." Mad. Andrea, Mr. George Tedder, and Mr. Montexecution was better in every respect, and deeper and more gomery also contributed their aid in the vocal department. earnest attention was paid by the audience to every piece. This Herr Ganz played on the piano a serenade Italian and mazurka is a good sign, and shows that art is progressing in the right (Jaell and Ganz) in masterly style; and upon the same instrument direction. After the Opera, the Floral Hall was thrown open to Herr Semler (his first appearance in England we understand) gave the lovers of gas-lights, roses, fuchsias, cactuses, stove plants, a solo on airs from William Tell with brilliant effect. Nor must green-house plants, and brilliant tournures. we pass over without the praise to which it was entitled the grand The Huguenots was repeated on Thursday. duet on Weber's Preciosa, most satisfactorily rendered by Miss Lindley and Miss Conaron. Altogether the evening passed off admirably, and all agreed that it was one of the most agreeable réunions of the season.

Concerts.

MR. AGUILAR'S SOIREES MUSICALE.-The last of this gentleman's Soirees for the present season took place at his residence before a distinguished audience. Among the most important pieces in the programme was Mr. Aguilar's sestett for piano, flute, oboe, horn, clarionet, and bassoon, capitally executed by the composer, assisted by Messrs. Pratten, Lazarus, Nicholson, Hausser, and Harper. Miss Lindo gave with great expression the "Inflammatus," from Rossini's Stabat mater, and Mr. Aguilar's charming song, "On a windy day." Mad. Rieder, Miss Augusta Thomson, Miss Wilkinson, and Mr. Tennant were the other vocalists. Among the distinguished company present were Viscountess Hawarden, Lady John Somerset, Lady Smith, the Baroness Meyer de Rothschild, and Mr. White (M.P. for Brighton) and family. Mr. Aguilar accompanied the vocal music; and, in addition to his sestett, played two fantasias of his own composition, on Weber's Last Waltz, and on airs from La Traviata. Mr. Aguilar and Herr Oberthur, in addition, played the Trovatore duet for harp and piano, the composition of the lastnamed gentleman, and Mad. Pratten a solo on the guitar, in which she was encored.

SOCIETY FOR THE ENCOURAGEMENT OF THE FINE ARTS.-The sixth and last conversazione for the season of this society took place on Thursday evening, at the French Gallery, Pall-Mall, and was most fully attended, the company extending into the vestibule. Mr. J. Edmiston was in the chair. The chief point of interest in the evening's proceedings was the announcement of the prize awards (silver medals) for the season, the report of which was read by the honorary secretary, Mr. H. Ottley. The prizes were-in historical painting to Mr. S. Solomon, for his picture of Moses, in the Royal Academy; in landscape to Mr. Vicat Cole, for his Harvest Time, in the exhibition of the Society of British Artists, Suffolk Street; in genre to Mr. H. Tidey, for his Queen Mah, in the exhibition of the New Water Colour Society; in sculpture to Mr. Durham, for his statue of Chastity, in the Royal Academy; in architecture to Mr. S. J. Nicholl, for his designs for the Church of St. Peter and St. Paul, at Cork, in the Architectural Exhibition; and in poetry to Miss Power, for her poem of Virginia's Hand. In music and engraving awards have not as yet been made, but will probably be announced on the re-assembling of the society in October. The announcement of the awards seemed to give general satisfaction. A concert followed, conducted by Mr. A. Gilbert, which presented some features of more than usual interest and novelty. One of the objects of the Society being the "encouragement" of practitioners, it was gratifying to find this agreeable réunion of Thursday the means of introducing some new and rising talent which we have no doubt will one day achieve considerable distinction. Amongst the vocalists Miss Kenny and

MLLE. VANERI OF HER MAJESTY'S THEATRE, and M. Samary, violoncellist of the Imperial Chapel of Napoleon III., gave a matinée musicale on Monday last at Collards' New Rooms. They were assisted by some of the artists from Her Majesty's Theatre, comprising Mad. Borghi-Mamo, Signor Belart, Signor Everardi, and M. Remusat, first flute in the orchestra. Mad. Everardi, wife to the barytone, and M. Jules Lefort, were also amongst the singers; and Mlle. Laure Colmache, and Mr. G. A. Osborne, pianists, added their services in the instrumental department. Mlle. Vaneri sang the cavatina, "Qui la voce," from 1 Puritani, and some French romances, displaying undeniable talent in both styles of composition, and delighting the entire audience by her ease and facility, and the fine quality of her voice; Mad. BorghiMamo introduced the grand air of Malcolm Græme, from the Donna del Lago, which she sang superbly, and a serenata by Braza with violoncello obbligato, which was almost equally effective. Mlle. Laure Colmache, in her two pianoforte solos-caprice by Mendelssohn, and Stephen Heller's "La Truite❞— exhibited a sound free style, and much dexterity of execution. Solos were also furnished by Mr. G. A. Osborne on the piano, M. Remusat on the flute, Herr Engel on the harmonium, and M. Samary on the violoncello, all with masterly skill.

HERR WILHELM GANZ' ANNUAL MORNING CONCERT (June 29th) took place at St. James's Hall under royal and distinguished patronage; Her Royal Highness the Duchess of Cambridge and Her Royal Highness the Princess Mary heading the list of patrons. For such grand guests-patronesses are sometimes expected to attend performances to which they lend the glitter of their names-Herr Ganz provided a good bill of fare, comprising selections from the works of Mozart, Beethoven, Rossini, Hummel, Meyerbeer, &c., for the true devotees of music, and less recherché viands for the more homely disposed. It was in fact a well-varied programme and fitted to many tastes. Herr Ganz himself—a nimble-fingered and sound pianist-selected for his displays Hummel's grand quintet in E flat minor (Op. 87), for pianoforte, violin, viola, and basso-in which he was assisted by M. Sainton, Herr Goffrie, M. Paque, and Mr. F. S. Pratten; Beethoven's Sonata Pathètique; Thalberg and De Beriot's grand duo for pianoforte and violin, performed with M. Sainton; and Prudent's Caprice on airs from La Sonnambula, with all of which - more particularly Beethoven's sonata-the distinguished visitors appeared mightily pleased. Solos were executed by M. Sainton and M. Paque on their respective instruments. The vocal music was contributed by Mesdames Catherine Hayes, LemmensSherrington, and Sainton-Dolby; Mr. Wilbye Cooper, Mr. Santley, and Herr Hermanns, nothing of which being novel stands in need of communication. Messrs. Benedict, W. G. Cusins, and Wilhelm Ganz officiated as conductors.

THE MATINÉE MUSICALE OF MADAME DE VAUCHERAN attracted a large and fashionable audience to the Beethoven Rooms, Harley

Street, on Monday, the 9th instant. Mad. de Vaucheran is a pianist with a good deal of talent; but unfortunately she was so nervous the evening of her concert as almost to incapacitate her entirely from playing at first. She began with a duo for two pianos, whch she played with Mr. Walter Sangster, followed by an étude of Theodore Kulla's, and a duet for piano and violin by Stephen Heller, with Herr Goffrie. This would have been enough for the most experienced performer; but when we have to add Mozart's quatuor in G minor, and Beethoven's in E flat (Op. 16), for piano, violin, viola, and violoncello, it will be readily acknowledged that too much was asked of the fair artist, whose talent is by no means inconsiderable, and who will be appreciated yet at her full value. The vocal music was distributed among the following singers :- Mrs. Alexander Newton, Miss Rowcroft, Mlle. Vaneri, Miss Kate Ranoe, Mr. Leonard, Mr. W. Graeff Nicholls, Mr. P. E. Van Noorden, and Herr Eibenschutz. Mrs. Alexander Newton gave Bishop's "Lo! here the gentle lark," and the bolero from the Vêpres Siciliennes, with great brilliancy; Mlle. Vaneri sang the "Couplets de Mariće," from the Etoile du Nord, with remarkable skill; and Miss Kate Ranoe's pleasing voice and style were manifested in Mr. Balfe's song, "Oh! take me to thy heart again."

MISS ELEONORA WILKINSON'S MORNING CONCERT was given at the residence of Lady Bisshopp, 29 Hill Street, Berkeley Square, on Tuesday, July 3rd. Miss Wilkinson has not been long before the public, scarcely long enough, indeed, to warrant her giving a benefit concert. Young ladies, however, now-a-days, are by no means prone to backwardness. On the contrary, directly they have finished learning they begin to teach; and no sooner have they sung their first song or played their first piece than they begin to think about giving their first concert. This is another proof of the new spirit of the times, a sign that the properties of the "fast school" are not confined to the male sex. However, as Miss Wilkinson's concert was given in a private residence, it can hardly come within the category of public exhibitions, although no doubt any body might have secured the right of entrée by paying the asked-for fee. The fair beneficiaire was assisted in the vocal department by Mlle. Elvira Behrens, Mad. Sainton-Dolby, Mr. Wilbye Cooper, and M. Jules Lefort; and in the instrumental by Herr Lehmeyer and Herr W. Ganz (piano), Herr Ries (violin), Signor Regondi (concertina), Herr Oberthur (harp), M. Paque (violoncello), and Master Drew Dean (flute). Miss Wilkinson sang "Perche non ho" from Lucia; the song "Sweet Bird," from Handel's Penseroso; besides taking part in a duet with Mad. Sainton-Dolby, and in two quartets with Mlle. Behrens, Mr. Wilbye Cooper, and M. Jules Lefort.

MR. BALFE'S SECOND CONCERT AT THE SURREY GARDENS. The music hall of these favourite gardens was so crowded on the occasion of Mr. Balfe's first concert, that we imagined the number of the audience had attained its maximum. There seems, however, to be no numerical limit to the lovers of music in the metro

polis; and the attraction being greater last Wednesday, when the second of the popular composer's so-called "festivals " took place, the assemblage was proportionately increased. Every corner in the body of the hall was occupied-and there were no seats in this part of the building to take up valuable space, while all the galleries, including the topmost one, were completely filled by anxious listeners. To the thoroughly popular character of the programme the enormous audience is doubtless, in some measure, to be attributed. The pieces were not in this case all selected from the works of Mr. Balfe, but were mostly chosen rather on account of their tuneful then classical merits. Thus Mlle. Parepa selected from her extensive répertoire the "Shadow Song" from Dinorah, in which she was encored, and the spirited laughing song from Manon Lescaut. Miss Poole gave "The Young Recruit,' which the Orphéonistes seem to have again brought into vogue, and, when encored, she sang "Wapping Old Stairs" panied, the droll pathos of which she brought out with exquisite taste. Mad. Louisa Vining gave Mendelssohn's "First Violet," and Berger's song, ""Tis best to be off with the old love before you are on with the new," for which, when encored, she substituted "Comin' thro' the rye;" and Mad. Laura Baxter rendered admirably the ballad, "I cannot change as others change." Miss

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Kate Ranoe, whose name will probably not be long unfamiliar to the public, sang Balfe's pretty ballad," Oh, take me to thy heart again," with unusual expression and feeling. As this was virtually the first public appearance of Miss Ranoe, it is not surprising that traces of nervousness were perceptible; but it was nevertheless evident that the débutante possesses a mezzo-soprano voice of sympathetic and pleasing quality, that her articulation is remarkably distinct, and that her method does great credit to the celebrated Duprez, under whose guidance she has been pursuing her studies. Mr. Sims Reeves is the very Jupiter among singers with the audiences of the Surrey Gardens. and when he opens his mouth it is as though the King of Gods spoke in thunder. Two of his songs were set down in the programme in immediate succession, so that when Mr. Sims Reeves was honoured with the inevitable recall in "Come into the garden, Maud," he re-appeared and sang his second song, the very graceful ballad, “Margaretta," as the encore, and thus the insatiable instincts of the audience were appeased, with no injustice to the vocalist. "My Pretty Jane' was also redemanded, and Mr. Reeves instantly acceded to the call by repeating the second verse. Mr. George Perren gave the tenor air from the Trovatore, "Ah! si, ben mio!" but was more successful in the English ballad, "When other lips;" and Mr. Kelly, in the absence of Mr. Patey, sang the air, Castille. The instrumentalists were Mr. Viotti Collins, who Though forture darkly o'er me frown," from the Rose of played the two Carnivals of Venice and of Cuba; and Miss Arabella Goddard, whose splendid performances of Thalberg's fantaisie on "The last rose of summer," and "Home, sweet, home," are too well known to require comment. The audience, although so numerous, evidently fully appreciated good playing, for they encored both pieces. After the first piece, however, Miss Goddard contented herself with bowing her acknowledgments, but the fair performer was compelled to repeat the second. Mr. Balfe's overtures to the Rose of Castille and to Falstaff were well be added to the attractions of the next concert. performed by a small but efficient orchestra. Mad. Alboni is to

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MISS SUSAN GODDARD gave a Matinée Musicale at Collard's Rooms, on Tuesday, the 3rd instant. This young lady, one of our most promising pianists, performed Beethoven's grand sonata, in D minor; Moscheles' duet for two pianofortes, "Homage à Handel," with Mr. Benedict; and with Messrs. Buziau and Douay, a trio by Beethoven, for pianoforte, violin, and violoncello. Artôt, Mad. Everardi, Signors Corsi, Delle Sedie, and Everardi were the singers; Messrs. Benedict and Harold Thomas conducted.

Mlle.

MISS MADELENA CRONIN'S SOIREE (June 14th) is entitled to tion of music offered by the beneficiaire, who is a pianist of no notice, were it for nothing else, in respect of the admirable selecordinary pretensions. The pianoforte pieces included the "Kreutzer Sonata" of Beethoven, played with Herr Becker; Hummel's sonata in F minor; Bach's fugue in C minor; Scarlatti's sonata in A major; Handel's "Harmonious Blacksmith"; Mendelssohn's caprice, No. 3; Liszt's "La Regata Veneziana"; and Chopin's "Impromptu in A flat." Mad. Louisa Vinning and Herr Eibenschütz supplied vocal pieces. which was held at 6 Harewood Square, Regent's Park, was attended by a brilliant and numerous assembly.

The concert,

MR. JOHN NICKINSON, Organist of St. Mary's, Battersea, gave a concert at Lammas Hall, on the 3rd instant, under distinguished patronage. The concert was of a singular character, inasmuch as four blind artists assisted in it. They were-Mr. Lea Summers, J. Reed, barytone. With these were engaged as vocalists-Miss pianist; Mr. W. Bishop, tenor; Miss Scott, soprano; and Mr. Banks, Miss Bradshaw, Miss Eliza Travers, and Mr. Stanley Mayo. The performance was given under the immediate direction of Mr. W. H. Monk, of King's College, London, and the School for the Blind, St. George's Fields; who, with Mr. Nickinson, acted as conductors.

PROFESSORS' CONCERT UNION.-The third performance of the series of concerts given by the above Union was devoted to Miss Summerhayes, the young pianist, whom we have more than once noted as of provincial celebrity. The programme was first-rate, and comprised, for the special pieces, Spohr's trio in B flat, for

pianoforte, violin, and violoncello, and Beethoven's quartet in D major, No. 3, for two violins, viola, and violoncello. In the trio Miss Summerhayes was assisted by Mr. H. Blagrove and Mr. Daubert; the quartet was executed by Messrs. H. Blagrove, Clementi, R. Blagrove, and Daubert. In addition to Spohr's trio, Miss Summerhayes played Mendelssohn's Rondo Cappriccioso and joined Mr. Blagrove in Benedict and David's duet on Oberon. The young lady's execution is neat and finished, and her style unpre tending in the extreme. The singers were Mad. Louisa Vinning and Miss Lascelles. The last-named lady sang Mercadante's "Un Sogno," with violoncello obbligato by Mr. Daubert, as well as a new ballad called "In that happy time." Mad. Vinning gave Rossini's barcarole "Voli, voli," and both ladies united their voices in Mendelssohn's charming duets "The Greeting," and "Maybells."

MR. EDMUND J. CHIPP, one of our most accomplished organists and efficient members of the orchestra, has recently (June 21) taken his degree as Doctor of Music at the University of Cambridge. The exercise performed for the occasion was a sacred oratorio, entitled Job, the words entirely selected from the Holy Scriptures. Mr. Sims Reeves, with his usual generous feeling for a brother artist, most kindly volunteered (unsolicited) to sing the tenor part, but was unavoidably prevented from carrying out his intention by a previous engagement requiring his services on the day fixed by the authorities. Mr. Reeves, however, sent down the best possible substitute that could be found, Mr. Wilbye Cooper, who gave great satisfaction in the principal part. This is the first musical degree that has been taken under the present professor, Dr. Sterndale Bennett, and the only one with the exception of the "Professor," that has been conferred for eight years past.

MUSIC v. DEVOTION.

STRANGE as it may appear to many minds, Music has been characterised by some superficial thinkers as an art opposed to the true spirit of devotion. That nothing could be said more antagonistic to truth I need not go far to prove. For almost every great mind. whether scientific, philosophic, or poetic, has affirmed the contrary, and volumes of quotations might be easily collected to show that in the opinions of the best informed of our race, melody and harmony are the essence and soul of devotion. But space will not admit of many quotations, nor indeed are they here necessary, scattered broadcast as they are throughout our literature, and springing up in every direction. By one writer music has been beautifully defined as "an universal language, which harmoniously relates the reminiscences of the heart;" and Carlyle finely says, "Who is there that, in logical words, can express the effect music has on us? A kind of inarticulate, unfathomable speech, which leads us to the edge of the infinite, and lets us for a few moments gaze into that." In similar strains speak all who have made the inner life of our species their study. They declare that music is an essential spiritual requirement of humanity. There is no grade of society, whether in civilised or uncivilised communities, but manifests in some degree the universality of this great gift of the Creator. And whilst freely granting that "he whose soul does not sing need not try to do it with his throat," I would as strongly avow that few indeed are they whose souls do never sing, or, at least, were not intended by the Great Father of Spirits to sing. The savage chieftain and his painted menat-arms sing joyous songs in commemoration of victories won in the field, and ease their burdened hearts of sorrow in requiems to the manes of fallen heroes. Emperors and kings, ages before the "sweet singer of Israel" tuned his majestic harp, down to the present day, bowed and are bowing to the all-powerful spirit of song; whilst captives in their dungeons lighten their fetters, and transform their clanking harshness into melody by the aid of the same eternal beneficent endowment.

Whilst I would not for a moment seek to disparage the great and good results which have come down to us through the Reformation, whilst I admit to the full how much our present glorious liberty is due to the stern patriotism of the men who figured so nobly in that great struggle with priestcraft and mental tyranny consequent thereon, I still think a great error was committed in depriving the church ritual so entirely of its musical element, and one from which it has suffered, and is suffering at the present day. To this cause I think we may fairly attribute the rise of the High Church party. But time alone will show whether the effects that party shall ultimately produce are to be beneficial or disastrous to the Establishment. That some weak-minded or designing

men have been met with in their ranks it would be folly to deny, having proved themselves such by eventually going over to Rome. But to say that all who are known as belonging to that party are men of the same stamp, would exemplify a most invidious spirit, and merit nothing short of contempt. Can it be supposed that a large body of men, high in natural endowments and educational acquirements, and having, many of them, a great stake in the varied interests and wellbeing of their country, are yet so blinded (as some affirm) to its welfare as to desire to hand over to a foreign power the consciences and spiritual liberty of a free and great people, as we are proud to entitle the dwellers in these our island homes? Surely not! Could such, indeed, be proved to be the fact, Bedlam could alone provide a proper "living" for such, and it would be the duty of the nation to place them there at once. Undoubtedly the scenes lately enacted at St. George's-in-the-East were disgraceful to a degree I care not to denominate, and are a scandal to the Church, which appears possessed of no power to put an end to them. But it can hardly be admitted that the persons who have figured in those shameful demonstrations are actuated by religious convictions of one kind or another. They were simply a lawless mob, who would not have been tolerated in any Ranter's conventicle, but who, in the Church as established by law, cannot be molested.

I am firmly persuaded in my own mind that for very many years past there has existed a deeply-felt craving in the soul of intellectual humanity for a higher mode of expressing its praises to the Almighty than the customary mode of reading the liturgy of the Church affords. Therefore I conclude it to be very probable that this much-maligned party in the Church may have prevented very many from going over to Rome who otherwise might have done so. It has been too much the fashion of the Establishment almost totally to ignore man's musical law of nature is violated, that she should seek to assert her eternal nature for generations past, and it cannot be matter for surprise, when a

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Let it not be supposed I am here advocating the bowings, crossings— and, above all, the confessional-of Rome. Far from it. I denounce them all, and believe them to be the very sands and shoals which have hitherto impeded the progress of that party who have sought the introduction of a musical service into the Church's ritual. I believe one of the most crying wants of our age is a pure and authorised musical liturgy, without the adjuncts of the puerilities of Rome, which at best tend only to mar the solemnity, beauty, and dignity of their otherwise noble service. The music of Rome is certainly an unobjectionable feature in the service of that church - unobjectionable because founded in nature and truth, and hallowed by the seal and sanctity of the ancient servants of God. "David appointed for the service of the tabernacle four thousand Levites, divided into twenty-four courses, and marshalled under several leaders, whose sole business it was to sing hymns, and to perform the instrumental music in the public worship. In chap. xxv. first book of Chronicles, an account is given of David's institutions, relating to the sacred music and poetry; which were certainly more costly, more splendid and magnificent, than ever obtained in the public service of any other nation." A time came when the Jews introduced within the temple walls cattle and merchandise, and the money-changers were busy there improving their temporal condition. The spirit of Mammon had usurped the seat of divine harmony, and "Ichabod was written on Israel's glory. It is a bad sign of the times when the temples of Mammon outvie in splendour those dedicated to the Supreme Being. Who could suppose — did he not know it to be the fact that that is Mr. Gingham, who "keeps the shop in Spruce Street, marvellous for its breadth of plate glass and costly fittings, complacently, so to speak, worshipping the Creator in this incongruous eye-sore of a place, inferior in most points to a London cow shed? Yet so it is. Is there no music in his soul has Mammon absorbed it all that he can sit and listen unnerved to that horrible agology for "singing to the praise and glory of God?" True, the sight before us is one of the evidences of our freedom as a people-its only pleasing trait — and it is also true that God needs no temple made with hands of one kind or another. Man, however, needs a temple wherein reverently to worship God; and surely, if there is one building which more than another demands of him that he shall bestow upon it his best gifts, whether in its construction or internal conduct, it is the temple man rears in honour of the Creator of the universe. Who has not, on some lovely summer Sunday morning, gone into a place of worship with a heart leaping with love and thankfulness towards his heavenly Father, and has not there found those same feelings damped and well-nigh expunged by the cold, listless, unhearty tone of all and every thing around him? Few, I venture to answer, who take any interest in observing the age and manners in which his own lot is cast. On the other hand, let a man saunter in a listless careless mode into some Catholic place of worship, and, in spite of the priestly artifices,

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