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Letter to the Editor.

BEETHOVEN v. PAER.

SIR, With reference to the above subject, I beg to forward you subjoined extract of a letter I have just received from Vienna :

Extract.

"You ask me in relation to the story of Paer and Beethoven and the opera Fidelio, what are the facts? A question easily answered. "That Paer did relate the story to Hiller there can be no doubt; it has for many years been before the public, though not always in precisely the same form. But Paer's memory must have played him false. He was in Vienna several years, and composed their some seven operas, one of which was Achilles, a grand work, and upon a subject peculiarly to Beethoven's taste. Now I can easily believe the anecdote true if told of Achilles.* In the autumn of 1803, Beethoven, who had been employed to write for the Theater an der Wien, was living in the theatre buildings, and Paer had gone to Dresden as Kapellmeister. October 3d, 1804, Paer's Leonore was performed for the first time, in Dresden, the composer leaving for Italy the next day. Beethoven's Fidelio was performed for the first time November 20th, 1805; Paer's Leonore was given for the first time in Vienna (in German), February 8th, 1809.

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"These dates are sufficient to show that the story, as relating to Fidelio, can by no possibility be true.

"Your article is sufficient, however, and needs no confirmation from yours, &c. &c."

It will at once be seen that my suppositions, with regard to Paer's Leonore at least, were correct. What I particularly wished to prove, the fallacy, namely, of Paer's idea of having served as a model to Beethoven, finds ample confirmation in the above, and renders further comment on my part superfluous. Yours &c., JOHN TOWERS.

16 Grand Parade, Brighton.

Errata in my last (p. 433). Column 2, line 1, for 1824, read 1804.

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"orally" read "aurically." "Zesellschaften "read" Gesellschaften." "nügl ichist" read "möglich ist." "complèté" read "complète."

THE BACH SOCIETY.

AFTER some years' labour, the objects of the Society have been to some extent attained, in the attention now being paid to the works of J. S. Bach by the musical public generally. While, however, the public have been on the alert, the season 1859-60 has passed away without any public performance. In 1858, the Grosse Passions awakened an amount of interest which should have been immediately followed up; but, instead of the announcement of further public performances, 1859 brought forth a fragmentary concert to the members only, and 1860 has followed the example. The devotion to, and enthusiasm for their cause, which the members of this Society exhibit, is, we believe, to a great extent thrown away: the public are ready to join in the objects of the institution by attending any concerts that may be announced, but the Society, from some cause inexplicable by us, has not for two years afforded them one opportunity. The choir, on which the success of the concerts so much depends, was, when we last heard them in public, in a very bad state. The year 1860 has changed all that; and by a disfranchisement clause of a sweeping character, the vocal divisions have been proportioned, the number reduced, and the efficiency quadrupled. The Committee of the Bach Society may safely be considered to understand their own business, and it is no part of our duty as journalists to dictate any course for them to pursue; but on behalf of the public, we cannot help stating the disappointment generally felt among musicians of all

I cannot.-J. T.

classes that so great a success as the concert in 1858 was not succceded by further announcements.

On Tuesday last the first and last choruses, and two chorales, from the Grosse Passions Musik, and the third motett (of the set of six) constituted the first part of the concert, which took place at King's College. Two preludes and fugues for clavier were played by Mr. George Russell, and then the attraction of the evening commenced. The first eleven movements from the High Mass in B minor constituted the second part of the programme. They are every one of them of "such a character," as Herr Diogenes Taefelsdröckh says, as to set neglect at defiance." The "Kyrie," after a short introduction of massive grandeur, is a fugue of wonderful elaboration and beauty; the "Gloria," which follows the second "Kyrie," may be fairly described as the most effective music ever written for these words. It is in

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finitely spirited and exulting throughout, giving way to an air for "Laudamus Te," which is melody in every note. The soprano, Qui sedes," contralto air, is equally beautiful. The "Quoniam is a most elaborate air for bass, and the chorus which follows it, "Cum sancto spiritu," is astonishingly vigorous and brilliant. The working out of the phrases, as it draws to its close, is a practical lesson in counterpoint of great value. The solos were sung by Miss Banks the faultless, Miss Palmer the clever and gifted, Mr. Benson of the Chapel Royal and Westminster Abbey, and Mr. Winn.

Should this Mass in B minor ever be performed entire, we could guarantee a numerous audience from among our own acquaintance.

THE ACTORS AT THE CRYSTAL PALACE. SATURDAY was a grand day at the Crystal Palace. It was specially set apart for a bazaar, fancy fair, and concert on behalf of the Royal Dramatic College; and, judging from the number of visitors present and the animation which prevailed throughout the entire proceedings, we cannot but think the "event was one of the most successful which has taken place for a long time past. The programme was of a very varied character; but the centre of attraction was certainly the portion of the palace where the fancy fair was held. This took place in the space opposite the orchestra, and the principal ladies of the various dramatic corps of the London theatres presided at the stalls. These comprised-Miss Swanborough, Miss Bufton, Mrs. F. Matthews, Miss Kate Hickson, Miss Saunders, Miss Eburne, Mrs. Billington, Miss Kate Kelly, Mrs. Stirling, Mrs. Leigh Murray, Miss Herbert, Mrs. A. Mellon, Miss H. Simms, Miss Daly, Miss Marston, Mrs. Fitzwilliam, Miss Amy Sedgwick, Miss Thorn, Miss Laidlaw, Mrs. C. Young, Miss Neville, Miss M. Wilton, and Miss Oliver. All

these ladies exerted themselves to the utmost to entice customers

and few, if any, had cause for complaint when they reckoned up their "takings" at the end of the day. Sedgwick's "wheel of fortune," perhaps, obtained a rather larger At one period Miss share of attention than was bestowed upon some of the other stalls; but to compensate for this, shortly afterwards, Mrs. Stirling ruled supreme, and when her numerous admirers departed, they left minus many pieces of silver they had previously possessed. The same remarks will apply to almost all the other stall-keepers; and upon this point we can only say no one had cause for jealousy, but the funds of the college were largely benefited. Two other ladies, Miss E. Johnstone and Miss Hudspeth, also did a very "pretty business." They were the mistresses of a fancy postoffice, where autograph letters of J. B. Buckstone, T. P. Cooke, William Creswick, Mad. Grisi, William Harrison, Miss Heath, Robert Keeley, Mrs. Keeley, Carlotta Leclercq, W. C. Macready, Samuel Phelps, Louisa Pyne, F. Robson, Tom Taylor, John Vandenhoff, Benjamin Webster, Alfred Wigan, Mrs. Wigan, Marie Wilton, and others could be obtained upon the payment of the arrangements-both as regards rapid delivery and revenue-gave postage-one shilling. It is only necessary to say that the postal great satisfaction.

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But the men were not idle. Mr. Buckstone announced " now selling," a full account of the "savage assault of Aunt Sally upon himself, described in letters from an eye witness;" while

Messrs. J. T. Toole and Paul Bedford intimated that they had gone into partnership, and had on sale "a quantity of St. Domingo Billy 'bacco boxes"-the quality of which was guaranteed by Mr. T. P. Cooke. How many editions the "new work went through, or to what extent the receptacles of the "weed" found purchasers, we are unable to say; but if these transactions were upon an equal scale with others that took place during the day, all parties concerned had reason to be satisfied. Then at different periods of the day there was much excitement by "Aunt Sally," "Cheap John," "Punch and Judy," and "The Tent of Mystery," under the direction of J. B. Buckstone, Frank Matthews, Paul Bedford, J. T. Toole, Clark (Haymarket), H. Compton, H. Widdicomb, James Rogers, J. Clarke (Strand), Jos. Robins, T.R.M., and Lewis Ball. The reason why we cannot give a "full, true, and particular account" of the Tent of Mystery, which was one of the most lucrative and striking exhibitions of the fête, is the solemn injunction which met the eye upon entering the mysterious cavern, "All who enter here must observe SILENCE as to what they see or

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About three o'clock Mr. Webster, the Master of the Dramatic College, delivered the following address, which was written ex. pressly for the occasion by Mr. Robert Bell:

The painter who displays his art on glass,
Creates what seems at first a dusky mass

Of tints and outlines-'til the light shines through,
And brings its latent beauty into view :
Then glow the colours, then the forms appear,
And what was dark before, grows bright and clear.

Thus, too, the poet who the stage essays,
And trusts his fame to audiences and plays,
Prepares a picture into which he throws
Wit, knowledge, humour, all the traits his muse
Can gather out of life, from sternest passions
Down to field practice, and the last new fashions.

But when 'tis done, and every scene is wrought
With finest skill in character and plot,
It waits the light that shall its depths illume,
And all is dim until the actors come.

They to its fable vital action give,

Quicken its words, and make its figures live;
Through them the scenes start from the silent page,
And with their breathing movements fill the stage.

"Tis in their name we have come here to-day,
To honour both-the Player and the Play.
The Drama needs no helping-hand; 'tis sure
Through all Time's shifts and changes to endure.
Not so the Player; when his prime is o'er,
He sinks neglected, and is seen no more.
You, who your Drama's credit justly cherish,
Will not consent to see the Actor perish,
Remembering what you owe him for the nights
Of innocent pleasure, and of grave delights,
His art has yielded you ;-how his own ease
He sacrificed in the desire to please ;-
Wore laughter on his face, when private grief
Was eating at his heart;-and found the chief
Reward for all his struggles, toils, and cares,
Not in the smiles of fortune, but in yours.

You will not fail him in his hour of need,
When his grey hairs, and want, for succour plead,
But with a liberal hand, and offering meet,
Will raise for his old age a calm retreat;
Where, cast for life, he may play out his part
In quiet trust, and with a grateful heart.

The concert then commenced. It was conducted by Mr. Benedict and Mr. Lindsay Sloper, and the artistes were as follows: Mad. Catherine Hayes, Mad. Florence Lancia, Mad. Louisa Vinning, and Miss Augusta Thomson, Mr. W. Harrison, Mr. Santley, Master Drew Dean, M. Jules Lefort, M. Engel, and Mr. Augustus Braham. The different vocalists were much applauded, and the instrumental portion of the entertainment (there were several bands) was listened to with extreme pleasure.

The upper system of fountains played about seven o'clock; but after they had ceased, a large portion of the 'visitors who appeared highly delighted with the day's proceedings — lingered in the grounds and upon the terraces, watching the declining sun and gazing upon the magnificent scenery presented to their view in all directions.

The bazaar and fancy fair was continued on Monday, under the superintendence of the same ladies and gentlemen who attended on Saturday. The athletic sports and games by members of the volunteer corps (postponed from last Monday) were also concluded on that day. The great fountains and the whole series of waterworks were played at half-past five o'clock, as a compliment to the gentlemen of the International Statistical Congress, who had a déjeuner in the new dining-room of the palace as a termination to their labours.

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DRURY-LANE THEATRE.-The dramatic entertainment for the benefit of the widow and children of the late Mr. Robert B. Brough must have been highly satisfactory to those by whom it was originated and carried out. The immense space of the great metropolitan play-house was filled by an enthusiastic audience, and the applause bestowed throughout the entire performance showed a most gratifying appreciation on the part of all present of the generous efforts made in every direction to give éclat to the event. When we state that the entertainment was supported by members of no fewer than five metropolitan companies, viz., the Haymarket, the Adelphi, the Princess's, the Strand, and the Olympic, in conjunction with the Savage Club Amateurs, it will be at once conjectured that the programme was of the most diversified and attractive character. Want of fulness, too, certainly could not be said to form one of its defects. To begin with, the leading members of the Princess's company appeared in the new comedietta of Cruel to be Kind, in which Mr. Harris and Miss Carlotta Leclercq carried off the honours. Then Mr. Leicester Buckingham recited Robert Brough's spirited lines upon Godiva," with all the ease and dramatic intelligence of a practised elocutionist, and with a poetic feeling which evinced thorough sympathy with the spirit of the author. Mr. Buckingham was summoned before the curtain at the conclusion of the piece-an honour to which his masterly delivery of verses by no means easy to recite certainly gave him the fullest claim. After this, Charles Selby's well-written comedietta, The Last of the Pigtails, was given with much spirit by the Strand company-Mr. Clarke, Mr. Parselle, Mr. J. Bland, Mrs. Selby, and Miss Bufton rivalling each other in spirit and humour. Mr. George Augustus Sala then came forward, and read with an impressive earnestness that powerfully affected the entire audience an admirable address from his own pen, invoking aid for the family of the deceased. Miss Louisa Leclercq then danced a pas seul with all her accustomed grace, and then the popular Adelphi favourites, Mr. Toole, Mr. Paul Bedford, and Miss Woolgar, appeared in that diverting scene from The Willow Copse, wherein the fast man of former days is seen reduced to the condition of a street hawker by the vicissitudes of a cruel fortune. The incident, detached as it was from the body of the work, was thoroughly appreciated by the audience, and elicited the heartiest applause. Of course, too, Mr. Buckstone was greeted with shouts of laughter in the farce of Fitzsmythe of Fitzsmythe Hall, which came after; Mrs. Wilkins, Mr. Rogers, and Mr. W. Farren, who supported him, being very warmly received. An admirably written prologue to the burlesque of the Enchanted Isle, prepared by Mr. Shirley Brooks for the occasion, was given with excellent effect by Mrs. Stirling. The curtain then rose upon the burlesque-the earliest work, it will be remembered, of the two brothers, one of whom has just been taken from us by death. The cast was as follows: Alonzo, Mr. George Cruikshank; Ferdinand, Mrs. A. Mellon; Prospero, Mr. Leicester Buckingham; Ariel, Miss Kate Terry; Caliban, Mr. Francis Talfourd; Smuttifacio, Mr. John Hollingshead; Miranda, Miss Fanny Stirling (her first appearance on any stage), with the Princess's Rifle Corps and the members of the Savage Club as courtiers, sailors, foreign propagandists, &c. The members of the Savage Club fully sustained the histrionic credit they had acquired by their representation at the Lyceum,

and Miss Fanny Stirling, who is the daughter of the Olympic actress, created a very favourable impression upon the audience. She has a charming face-the copy of her mother's-an agreeable voice, a pleasing manner, and much of that archness and vivacity by which our gifted comedienne has so long been distinguished. Nothing could have been more favourable than her début, and should she adopt the stage as a profession, we may fairly hope to rank her as one of its fairest and most talented representatives.

SCARBOROUGH.-The Spa Concert of Tuesday evening attracted a brilliant audience. Among the instrumental gems were Weber's overture to Der Freyschutz, Mozart's to Figaro, and a selection from the Zauberflöte; these were tastefully performed by the band, the solos being given with a finish that proved the ability of the individual members. The vocalists were Miss Susanna Cole and Mr. Paul Standish. Mr. Paul Standish, in a song by Hatton, “Come, live with me and be my love," and another by the same composer, "Sweet love, good night to thee," called forth the warmest plaudits of the audience, who re-demanded the latter. Miss Cole appeared to captivate her hearers in every song. Rossini's "Di Piacer mi balza il cor" was' perfect. In the duet "Mira la bianca Luna," with Mr. Standish, the vocalists appeared to emulate each other. Mr. Hatton, of the Spa establishment, presided at the pianoforte,

LOLA MONTEZ.-The New York Tribune, of the 6th inst., says:-" Late on Tuesday evening we were surprised to learn that the celebrated Mad. Lola Montez, Countess of Landsfelt, lay at the point of death, and was not expected to survive the night. On Saturday morning she arose in her usual health, but soon complained of giddiness, and, lying down, was at once deprived of speech and motion by a paralytic stroke. Sunday and Monday she was able to partially recognise those about her, but on Tuesday seemed to have lost all consciousness, and was pronounced by her medical attendants as beyond all hope of life. For some time past she has resided at No. 15 Clinton-place, and during her sickness has been faithfully cared for by several of her intimate friends."

THE LATE ROBERT BROUGH.-The efforts in London to raise a fund for the benefit of the widow and family of the late Mr. R. Brough are about to be seconded in Manchester by a number of gentlemen whose intention is to give an amateur performance at as early a date as will permit the necessary arrangements being concluded. The Manchester Examiner says that great energy is being exercised in the good cause, and that an influential number of patrons are promising every possible assistance.

by a modern standard, seems very trifling. But as such rights were estimated then, and considering that the poem gained slowly upon the attention of his own age, it was not a grossly inadequate price. When it had been published fourteen years and upwards, the copyright, between one bookseller and another, brought only £25. Yet its value could not have been affected by any apprehension, at the time of this sale, that it was not protected by the common law. Such notion had not then arisen; and long after, viz. in 1739, Lord Hardwicke protected by injunction the title of Tonson, derived under the assignment made by the poet in 1667. Doubtless Milton did not write his great poem for money; but we have seen that he supposed the right of exclusive property in authors was acknowledged by the law of his country, and he took pains practically to assert the right in his own case. It seems by no means a wild conjecture that he did this for the sake of example, as well as in order to preserve his reputation, by keeping the control of the text of his poem.-Curtis on Literary Property.

ZINGARELLI enjoyed a very respectable position; he had an amiable family; his wife manifested towards him not only a sincere attachment, but also a kind of respect. Yet never were there two persons more dissimilar in disposition: he was quick and passionate; she cold and Zingarelli's hastiness; she was excessively economical, while her impassible. But, above all, she possessed a defect which increased husband liked not merely to make a display of what he had, but even to indulge in pieces of extravagance, without troubling himself much whether he could afford them. One evening he was playing with a friend at picquet, a game at which he was a great proficient. "The snuffers," he said, addressing his wife. She gave them to him; they were a common pair. "Not those," he added. "But, my dear "The snuffers, I repeat, and the good ones." Well, at any rate, let us snuff the candles now with these." "No, I will have the good ones." "But they will be spoilt they are of polished steel and inlaid." Gabriel," said Zingarelli, addressing his old servant, "go to Bressier's and get me a dozen pairs of snuffers." "A dozen, sir? "A dozen!" "But, my dear." "Of the best quality.' "But -." "Inlaid!” "Good gracious!" "English manufacThe poor woman was silent. Had she ventured to make another observation, Gabriel would have been ordered to fetch two dozen pairs.

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Advertisements.

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THE COPYRIght of "PARADISE LOST."- As Lord Camden cites the example of Milton, to show that he placed no value upon the right of property in his great poem, it may be well to repeat the authentic facts concerning the sale of that copyright. Milton sold his copyright to Samuel Simmons in 1667, for an immediate payment of £5. But the agreement entitled him to a conditional payment of £5 more when 1300 copies should be sold of the first edition; of the like sum after the same number of the second edition; and of another £5 after the same sale of the third edition. The number of each edition was not to exceed 1500 copies. In two years, the sale gave the poet a right to his second payment, for which he signed a receipt on the 26th of April, 1669. The second edition was not printed till 1674, and Milton did not live to receive the payment stipulated for this impression. The third edition was published in 1678; and his widow, to whom the copy was then to devolve, agreed with Simmons, the printer, to receive £8 for her right, according to her receipt, dated December 21, 1680; and she gave him a general release, dated April 29, 1681. Simmons sold the right to Brabason Aylmer, a bookseller, for £25, and Aylmer sold it to Jacob Tonson, one moiety in August 1683, and the other moiety in March 1690, at a price considerably advanced. (Todd's Life of Milton, 193-195, London, 1826.) It thus appears that the poet was very careful to assert his full right of property, as he and others understood it at the time, and to make it available to his family. The amount which he chose to receive, compared with the real value of the poem, or measured

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Dr. MARK begs to inform young ladies and gentlemen who are preparing for the profession that he affords opportunities of introducing them to the public by performing at his concerts.

Orphans of the musical profession, and poor children possessing musical talent, are admitted free, and receive a general and musical education, together with board and lodging, until the age of fourteen years, when they are either apprenticed to a trade or trained for the profession.

Little Boys, from five to nine years of age, apprenticed for three, five, or seven years by paying a moderate entrance fee to cover the expenses of instrument and books.

For Prospectuses, apply direct to the Royal College of Music, Manchester. Visitors are admitted from Nine to Eleven, a.m., and Two to Four, p.m. every day, Saturdays and Sundays excepted.

O ORGANISTS, &c. - To be Sold a bargain, in perTO ORGANISTS, & following bosd a bargain, in pereminent Professor: HAYDN's Masses, 1 to 6 Score (Breilkopf); ditto ditto, 8, 10, 12, 4, and 13 ditto MS.; ditto ditto, 7 MS. and 12 Single Parts; ditto ditto, 15 MS. and 21 ditto ditto; ditto ditto. 9 MS. and 23 ditto ditto. MOZART'S 2 Kyries Score, MS. and 4 Single Parts; ditto Vespers, Laudate and Magnificat; ditto Mass, selected by Zulehmer. MS.; ditto ditto, No. 6, MS.; ditto ditto, No. 11, MS. For particulars, apply to Boosey and Sons, 28 Holles Street, W.

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"The Harp of Wales' (sung for the first time) is a very graceful song, admirably adapted for Mr. Sims Reeves, and sung by the distinguished tenor with a refinement of expression which produced a magical effect on the audience, and raised demands for repetition which were not to be denied."-Daily Telegraph.

"The Harp of Wales,' beautifully sung by Mr. Sims Reeves, was unanimously redemanded."Morning Post.

"The other was new and sung for the first time by Mr. Sims Reeves. It is called the Harp of Wales,' and is a lovely and expressive melody. It was enthusiastically encored."-Daily News.

"Mr. Richards did honour to his fatherland by introducing a new song, The Harp of Wales,' which is sure to become a favourite of the Cymri, who are justly proud of their bards. So admirably was this sung by Mr. Sims Reeves, that an encore was in. evitable, and the ballad was as warmly applauded the second time as the first."Musical World.

London: DUNCAN DAVISON & Co., Dépôt Géneral de la Maison Brandus, de Paris; 244 Regent Street, corner of Little Argyll Street, where may be obtained"THE SULIOTE WAR SONG," sung by Mr. Santley, price 38. "THE BLIND MAN & SUMMER," sung by Miss Palmer, price 2s. 6d. "ETHEL," Romance for the Pianoforte, price 28.

"LEOPOLD," Mazurka Favourite, price 2s.

Composed by Brinley Richards.

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[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 Concerts); "False friend, wilt thou smile or weep," Beatrice's song in the Cenci (sung by Madame Sainton-Dolby, at the Monday Popular Concerts, St. James's Hall); 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 Shelley's Cenci'), to both of which she did, the amplest justice. The latter work is

by Mr. Davison many years ago, and which, though rarely heard, possess far more one of the most poetical and beautiful of the Vocal Illustrations of Shelley,' composed 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 completely caught the spirit of the poetry, and heightened its beauty by the potent charms 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.

Printed by GEORGE ANDREW SPOTTISWOODE, of No. 10 Little New Street, in the Parish of St. Bride, in the City of London, at No. 5 New-street Square, in the said Parish. Published by Joux BOOSEY, at the Office of BoosEY & SONS, 28 Holles Street.-Saturday, July 28, 1800..

"THE WORTH OF ART APPEARS MOST EMINENT IN MUSIC, SINCE IT REQUIRES NO MATERIAL, NO SUBJECT-MATTER, WHOSE EFFECT
MUST BE DEDUCTED: IT IS WHOLLY FORM AND POWER, AND IT RAISES AND ENNOBLES WHATEVER IT EXPRESSES
"-Göthe

SUBSCRIPTION-Stamped for Postage-20s. PER ANNUM

Payable in advance by Cash or Post-Office Order to BOOSEY & SONS, 28 Holles Street, Cavendish Square, London, W.

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VOCALISTS.

MR. C. R. WESSEL,

N retiring from business, begs to express his sincere

to the establishment carried on under the title of Wessel and Co., and hopes the same favour may be extended to his successors, Messrs. ASHDOWN and PARRY, who, during upwards of twenty years have taken an active part in the management of his business.

ASHDOWN & PARRY

[AVE the honour to announce that they have succeeded constant attention to the wishes and requirements of their customers to deserve and obtain a continuance of the support rendered to the late Firm.

18 Hanover Square, London, July 1860.

HORISTERS.-Wanted, two Choir Boys, for a Chapel

£15 each, they will receive a good English and commercial education, and will be boarded and lodged in the house of the Organist, from whom they will receive lessons on the Pianoforte, with daily instructions in Singing and Theory of Music. Applicants must possess fair voices, and a musical taste and ear. Apply to Mr. Crossley, Arley Green, Northwich.

YORK

WORK CATHEDRAL.-Wanted immediately, for this Choir, a BASS (not Baritone) VOICE. The duties are attendance at Divine Service twice daily, and at Choir-practice whenever required by the Organist. The salary is 50 guineas a year, with a gradual advance to £70, in case of approval.-Applications, stating age of the Candidate, and enclosing testimonials as to his character and musical efficiency, to be addressed to Dr. Monk, Minster-yard, York.

Mademoiselle PAREPA, Miss POOLE, Miss RANOE, TO ORGANISTS.-Wanted, for the Parish Church of

and the Misses BROUGHAM.

Mr. SANTLEY

(His only appearance this Season),

Mr. GRATTAN KELLY, and Mr. SIMS REEVES.

INSTRUMENTALISTS.

Pianoforte, M. EMILE BERGER.

Violin, Mr. VIOTTI COLLINS.

The Surrey Gardens Choral Society of 200 Voices.

CONDUCTORS-M. EMILE BERGER and Dr. JAMES PECHS.

Owing to the unrivalled attractions of this Entertainment it will be necessary to make early application for Balcony Seats to the following Music Sellers, &c. :-Cramer; Chappell; Mitchell; Boosey and Sons; Keith, Prowse, and Co.; Roberts; Pigott and Wilcocks. Admission, Is. Concert to begin at Seven o'clock punctually.

POPULAR MUSIC.-A Green Catalogue, New and

enlarged Edition, compiled expressly for the use of Teachers of Music, containing upwards of 2000 Works by the best Composers, furnished gratis and postagefree. All applications must state" The Green Catalogue."- London: Robert Cocks and Co. New Burlington Street.

USIC for SCHOOLS and the COLONIES, &c.

MUS

The 260th Edition.-Hamilton's Modern Instructions for the Pianoforte, 4s. ; Hamilton's Modern Instructions for Singing, 16th Edition, 5s.; Hamilton's Dictionary of 3500 Musical Terms, 61st Edition, 18.; Clarke's Catechism on the Rudiments of Music, 62d Edition, Is. N.B.-Gratis and post-free, a Catalogue of New and School Music; also a List of New and Second-hand Pianofortes.-London: Robert Cocks and Co. 6 New Burlington Street, W.; and of all Music-sellers and Booksellers.

KULLAK'S ADMIRED PIANOFORTE MUSIC.

Perles d'Ecume, 4s.; Bohemian Airs, 2 books, 46. each; Hyne, 3s.; Valse de Salon, 3s.; Romance, 3s.; La Graceeuse, 36.-London: Robert Cocks and Co. New Burlington Street.

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LEE, NIGHTINGALE, & CO. (for many years connected with the Liverpool Times, Liverpool Mail, and Liverpost Albion Newspapers), PRINTERS, LITHOGRAPHERS, ADVERTISING AGENTS, and NEWS 18 PAPER CORRESPONDENTS.- Swift Court, 13 Castle Street, Liverpool,

MUSICAL INSTRUMENTS for VOLUNTEER and

COUNTRY BANDS.-BOOSEY and SONS beg to state that they hare made arrangements to supply BRASS and REED INSTRUMENTS of the very best description, at the lowest scale of prices. Band-Masters and others are, recommended to forward a list of Instruments required, for which they will receive an estimate of cost by return of post.

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