was thoroughly acquainted with the sonata form, and has left many excellent proofs of his knowledge. There is, however, a certain dryness about his works which prevented them from being popular while he lived, and has since consigned the greater part of them to oblivion, although Ries has not been dead many years. The most celebrated of his larger compositions for the pianoforte is the concerto in C sharp minor, which is even now frequently used as a piece for display. There are some very fine ideas in this concerto which abounds in difficult bravura passages that require a great command of the instrument to play effectively. The opening is grand and passionate, and the whole of the first movement good—perhaps the best effort of the composer. The slow movement and rondo are much inferior, and the instrumentation, after the first tutti, presents very few points of interest. The Studies of Ries are admirable as manual exercises*; and, for a brilliant morceau in the popular style, his fantasia on "Those Evening Bells" is, perhaps, as good in its way as anything of the kind that has been produced. The sonatas of Ries are all well written, and, in spite of a tendency to redundant detail, may be consulted with advantage both by pianist and composer. In none of them, however, do we find indications of those high qualities which entitle their possessor to rank among the composers of real genius.

ALOYS SCHMIDT, a German musician who resided many years at Frankfort, and KUHLAU, a flute-player, both deserve mention among the pianoforte writers of the epoch. The former, a professor of deserved eminence, is chiefly known by his Studies, which should be diligently practised by all who wish to acquire mechanical proficiency. The latter, in some duets for flute and piano (the best things of the kind extant), has shown a great familiarity with the sonata form, in which he writes with fluency, clearness, and effect.

MARSCHNER, a popular and well-known dramatic composer, has written some sonatas for the pianoforte, which, like his operatic music, smells strongly of Weber, whose mannerisms even are exaggerated by the composer of Der Vampyr. These sonatas, nevertheless, are worth perusal, although they are written so awkwardly for the instrument, that we are led to conclude Marschner was not a pianist.

REISSIGER, and his trios, are well enough known by all amateurs to save us the necessity of dilating on their merits, which lie not very deep beneath the surface. They are good show pieces, and that is all. Pianist, violinist, and violoncellist, can each shine to his heart's content, without any prodigious amount of exertion, or any extraordinary display of skill. Hence their extensive popularity. Their form, however, is clear, and though the ideas are poor and the general style commonplace, the interest attached to the sonata form is so inevitable that even musicians can listen to these trios with some degree of interest. This must be our excuse for mentioning Reissiger, who, except as a manufacturer of easy pieces for amateurs, has had very little influence on the art, and has no claim to be ranked among the great composers for the pianoforte.

facility which is indispensable to those who desire to excel as public players.

THE RAIN CONCERT. Millions of tiny drops

Are falling all around;
They're dancing on the house-tops,
They're hiding in the ground.
They are fairy-like musicians,
With anything for keys,
Beating tune upon the windows,
Keeping time upon the trees.
A light and airy treble
They play upon the stream,
And the melody enchants us
Like the music of a dream.
A deeper bass is sounding

When they're dropping into caves;
With a tenor from the zephyrs,
And an alto from the waves.

O, 'tis a stream of music,
And Robin "don't intrude,"
If, when the rain is weary,
He drops an interlude.

It seems as if the warbling

Of the birds in all the bowers, Had been gathered into rain drops And was coming down in showers.

Dwight's Boston Journal.

SPONTINI.*

TOWARDS the end of July 1831, there was a rehearsal, in the concert-room of the Theatre Royal, Berlin, of Marschner's opera, Der Templer und die Jüdin, which was to be given on the 3rd August, the birthday of the late king. The principal artists, the chorus, and the band were all assembled, and the worthy G. A. Schneider was the conductor. Among the small number of persons present as audience, was the amiable and estimable Prince Anton Radziwill, a clever artist and friend of art. The rehearsal

had commenced some considerable time, when a peculiarly distinguished individual appeared in the room, and, advancing with a him. Although by no means tall, the slim aristocratic figure of light silent step towards the Prince, held out his hand to greet the new-comer seemed to exceed the ordinary height. Prince Radziwill cordially shook hands with the gentleman, who was a stranger to us, and who wore white trousers, a white waistcoat, and a white cravat, a rather light-blue dress-coat, decorated with orders, shoes and gaiters. A person connected with the theatre, to whom we were indebted for our admission, informed us that much sooner have supposed him to be an old French nobleman of the individual who had just entered was Spontini. We should the Faubourg St. Germain, an Italian Colonel in private clothes, the Spanish Ambassador, or the President of the Cortes, than a musician. After we had had an opportunity of observing him more nearly, we recollected that, a considerable time previously, we had seen a portrait, which represented the author of the Vestalin, as a young man of some twenty odd years. The likeness between the picture and the original before our eyes was certainly not striking,

but still there was a faint resemblance in some of the features.

Of all the portraits of Spontini, a Parisian lithograph by Grevedon is the best known, and is still to be found in the possession of many of the celebrated composer's admirers. Grevedon has, however, so idealised the head, that he may be said to have

A set of Six is published at Chappell's, New Bond Street.

as favourably as possible. Spontini had a peculiar, imposing, and intellectual, but by no means a handsome face; his form was thin, but his carriage noble and aristocratic, while his manners were pleasing, though not, properly speaking, affectionate and engaging.

Neither he nor his wife, formerly a Mlle. Erard of Paris, by whom he never had any children, and whose conduct, like his own, * From the Berliner Musik-Zeitung.

was most exemplary, ever felt at home during a residence of more than two decades in Berlin. With regard to the German language, each of them learned just enough to speak on those matters which more especially concerned his or her position.

Spontini himself knew about sufficient German to say the most indispensable things, when he was perfectly calm, at rehearsal; but, as soon as he became excited-which he very easily didhe spoke French, and Möser, who, when the General MusicDirector conducted the performance, always acted as leader, or the operatic stage manager, Carl Blum, was obliged to undertake the task of dragoman.

Of "Madame Spontini "-Spontini never called his wife other wise-it is related that, in the course of twenty years she hardly managed to pick up a hundred German words, all relating to household matters, and the fact that she had all her own body linen, as well as that of her husband, washed in Paris and not in Berlin, excited among the matrons of the latter city who heard of it the greatest astonishment. It must, however, be admitted that Spontini's linen was always incomparably white and fresh, while his invariably white cravats, and more especially the socalled "father-murderers" (vatermörder)* reaching up to a level with the nostrils, and which, as we remember hearing from his own lips, he wore of this size "for the sake of warmth," attained a certain comical celebrity in Berlin. He produced the impression of a Grand Seigneur from the Faubourg St. Germain, and we are inclined to doubt that, even had he made himself perfectly master of the German language, he would ever have succeeded in becoming popular and sought after in the musical and social circles of Berlin. In the first, place, he was really a man of too great intellect to be understood by the majority of those persons who, from the time he entered on his duties, thought they must attack him "in the interest of German art," and, in the next place, he was, with justice, too proud to descend to an intimacy with individuals of merely moderate abilities, and flatter those whom he thoroughly despised.

If we are not mistaken, Spontini first came to Berlin in 1819. Among the persons who approached him with admiration and attached themselves to him was the genial E. T. A. Hoffmann, Kammergerichtsrath, who died, we think, in 1823 — greatly to Spontini's disadvantage and, consequently, could not protect him from the storms which one after another broke over his head. The circle of Spontini's intimate friends was a very limited one, particularly in a musical point of view. It was only with such persons as were masters of French that he could discourse freely without assistance; consequently, with one person who in purely Berlin musical and social circles was a most important and leading man, we mean old Zelter, an intimacy, such as should exist between colleagues, was completely out of the question.

Zelter was a very long-headed and practical man. Even his rudeness, since proverbial, was mostly cunning calculation. There was scarcely another person in the city so well acquainted with, and so able to form an opinion on, the social and artistic affairs of Berlin as he was. Had it been possible to establish between him and Spontini friendly relations such as became two colleagues, he would have found means to protect the General Music-Director against all the storms and plagues prepared for him by envy, falsehood, and calumny.

Two younger men, as musicians towering far above Zelter, Bernhard Klein and Ludwig Berger, were not on a more intimate footing with Spontini; nay, the former, equally worthy of respect, both as an artist and a man, was, after the production of his opera, Dido, the small success of which was put down to the account of the General Music-Director, placed in a very painful position towards the latter. Neither Spontini nor Bernhard Klein, a

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• Anglice: "Collaro." I have been informed in Germany that the reason why these apparently harmless articles of dress were branded by "Father-Murderers "as sanguinary an appellation perhaps "Parricides" would be more elegant was that some wicked young men, wishing to get rid of their father, but fearing to employ arsenic, the knife, or any other of the usual means of assassination, prevailed on their too confiding progenitor to wear immense shirt collars, so stiff that they absolutely cut his throat. I give the legend as I heard it, but I do not think I would vouch for its truth.-J. V. B.

thoroughly noble-minded man, was to blame for this misunderstanding, but solely and wholly some of Klein's friends, who pushed the just admiration they entertained for his musical capabilities-in many respects very considerable and highly cultivated-to the conviction, totally destitute of any foundation, that he must, in addition to everything else, necessarily be a great operatic composer.

Among Spontini's most intimate associates--and this is a characteristic fact-there never was any pre-eminent Berlin artist; there were only two or three musical dilettanti, ready to expire with endless admiration-either real or affected-for him. These persons, seated at his well-served table, used to regale him with the coarsest flattery, and think proper to deceive him continually as to the real feelings and opinions of the musical public in Berlin. After one of the most absurd pieces of calumny, namely, that Spontini had not composed Die Vestalin himself, had found credit, it was an easy task to sow other lies about him among the people, and these lies fell upon equally good ground. Some of them were, for instance, to the effect that he, being a foreigner, either excluded all the operas by German composers from the repertory, or when, despite his great power, he could not prevent the production of one now and then, that he knew how to arrange matters so that the work should have no success.

(To be continued.)

FLORAL HALL.

The

Ar this dreary period of the year, midway between the summer and winter season, the paucity of musical entertainments of any pretension or character has been much felt by that unhappy section of Londoners who are prevented, by business or other causes, from leaving this wilderness of bricks and mortar and tasting the breezy freshness of the seaside, the bracing atmosphere of the moors, or invigorating themselves by aught in the shape of change of air. For one month, at least, this hiatus seems likely to be filled up, and following in the steps of the late M. Jullien, Mr. Alfred Mellon has successfully inaugurated a series of concerts on a scale which bids fair to be attractive to the public, and let us also hope remunerative to the entrepreneurs. An orchestra of some eighty members, comprising the pick of the famous band of the Royal Italian Opera, together with a selection from the chorus of the same establishment, in addition to solo vocalists of reputation, had the effect of drawing together a thoroughly appreciative audience, who welcomed our talented English conductor with a degree of enthusiasm that is only accorded to special favourites upon special occasions. National Anthem, of course, took the initiative, and was followed by a remarkably fine performance of Mendelssohn's overture, Ruy Blas; to this succeeded the scena, "Ah me, he comes not," from John Barnett's too-much-neglected opera, Fair Rosamond, given with remarkable energy by Miss Augusta Thomson. The somewhat hackneyed, albeit effective, part-song of Pearsall's, "Oh who will o'er the downs so free," and Mendelssohn's ever-charming "O hills, O vales of pleasure," were both re-demanded and repeated, while the elegant, sparkling, and original Herzen Valse of Prince Galitzin, admirably conducted by the noble composer, and Mr. Hughes's ophicleide solo, "Il mio tesoro were both loudly applauded. The admirable execution of the “Scherzo and Storm" from Beethoven's Pastoral Symphony made us regret that Mr. Mellon should have given this movement only, and not the symphony in its entirety, as the effect is utterly destroyed by its isolation from the body of the work. With the experience of the Monday Popular Concerts, where week after week crowded audiences are found, who not only sit out, but thoroughly enjoy the quartets and other chamber music provided for them, Mr. Mellon need not fear that a symphony, whether of Beethoven, Mendelssohn, or Mozart, is too long for the British public, who, thanks to the late M. Jullien, have shown themselves quite as ready to do justice to these grand works as the more aristocratic listeners of the Philharmonic or other high-priced Societies; and when we remember what triumphs the Orchestral Union achieved under Mr. Alfred Mellon we can only again express our regret, not unmingled with surprise, at the mutilation of such a masterpiece, and trust we shall not have future cause to complain of so

66

grave an offence against the giants of art at the hands of one who so thoroughly understands and venerates them. The overture to Zampa brought the first part of the concert to a spirited close. A selection from the Favorita, with solos for cornet-a-pistons, flute, ophicleide, violin, and violoncello, commenced the second part. Miss Parepa was encored in the cavatina from Mr. Alfred Mellon's Victorine, repeating the last movement, and also gave again the second verse of "I dreamt that I dwelt in marble halls," in answer to the demand for its repetition. In obedience to the unanimous desire of the audience, Prince Galitzin repeated the "Sanctus" of Bortniansky; but the second performance was so indifferent that it resulted in nothing less than a break-down, which the audience, however, treated very good-humouredly, and upon the Prince stopping the chorus and recommencing, testified their approbation by hearty applause. The stirring and delicious Kozlow Polka, by Prince Galitzin, was also repeated, making no less than five encores out of seven pieces. The concert concluded with the splendid and brilliant finale of Glinka's opera Life to the Tzar. We need hardly add that the appearance of the hall was most elegant, and afforded unqualified satisfaction to all present. At the second concert (on Tuesday) the attendance was very good, especially in the cheaper part of the hall, and everybody seemed to enjoy the light and gay appearance of the glass-house, brilliantly lit up as it was by jets of gas, tastefully as fancifully arranged. The conductors were again Prince George Galitzin and Mr. Alfred Mellon, who by turns wielded the baton of command over one of the finest bands this country can boast; and the singers were Mlle. Parepa and Mr. Wilbye Cooper. The principal orchestral pieces were Mendelssohn's overture to Ruy Blas, the Scherzo, Storm, and (on this occasion) Finale, from Beethoven's Pastoral Symphony; Hérold's overture to Zampa, and an "operatic selection" from Donizetti's Favorita; solos as before. The two overtures were played to perfection, and as much may be said, in most respects, for the operatic selection. "The performance of Beethoven's music," says the Morning Post, "was less satisfactory. We did not like to hear the oboe solo in the scherzo played in considerably slower time than that in which the movement had been started by the conductor, firstly, because it is the duty of every orchestral player-even M. Barret -to obey the baton; and secondly, because the time indicated was quite correct. Neither were we at all pleased with the rendering of the last movement marked allegretto, but taken up at a rate of speed more fitly described as allegro assai, and which made the distinct performance of certain passages (those, for instance, in which the basses repeat floral figures previously assigned to the violins) utterly impossible."

The only pieces conducted by Prince Galitzin were the already popular Herzen Waltz and Surprise Polka, composed by himself. The latter was unanimously redemanded. A really wonderful performance by Mr. Hughes upon that unwieldy and ungrateful instrument the ophicleide, and Mlle. Parepa's well-known version of the "Shadow Song," were likewise encored. Great applause was also elicited by Mr. Wilbye Cooper in Donizetti's "Una furtiva lagrima ;) and his execution, with Mlle Parepa, of Verdi's duet, "Parigi, O cara," evoked another demand for repetition. On the whole the concert was highly interesting, and it must be admitted that such entertainments as this are a real boon to the musical public at the present (in every respect) "dull" time of the year.

The performances on Thursday evening were distinguished by a new quadrille on Russian airs, the composition of Prince Galitzin. The quadrille possesses the elements of popularity, the tunes being highly original and piquante, and the setting most admirable and striking. The introduction of the National Russian Hymn at the end, of course, does not belong to the quadrille proper, being employed merely as a finale to the whole piece. The new quadrille was received with immense favour, and the last figure unanimously encored.

The attendance has increased greatly since the first night, and will, we have no doubt, increase still further, when the excellence of the programme and the completeness of the band are more widely known. It deserves to be especially noticed that the performance on that night opened with Beethoven's symphony in C, No. 1, the entire work, and that the audience were delighted be

yond measure with each particular movement, the finale eliciting the greatest enthusiasm.

Apropos of Prince Galitzin and the Floral Hall Concerts, we beg to quote the following remarks from the pages of our cotemporary, the Morning Chronicle:-"What gave greatest éclat, however, to the attractions was the announcement that Prince George Galitzin, the illustrious Russian amateur, whose name has already grown into a household word with the London musical public, had proffered his assistance to Mr. Mellon, and volunteered to conduct a part of the programme in the first eight concerts, placing at his (Mr. Mellon's) disposal several pieces of his own composition. Prince Galitzin is described in the bills-with no flattery, be it understood—as ‘a nobleman whose lifetime has been enthusiastically devoted to the study of music, and who, whether considered as a composer or as an orchestra conductor, might well lay claim to rank among the most accomplished professors of the day.' Such, indeed, is the fact; and perhaps the history of music does not present a second instance of a man of such high position among the nobles of the land foregoing all the honours and dignities of his rank, and placing himself as a simple labourer among simple artists. The reception accorded to Prince Galitzin proved unmistakeably that the public appreciated his exertions in the good cause, convinced that a real artist only could make such sacrifices."

UNIFORM MUSICAL PITCH.

[The following circular has been forwarded for signature to the principal members of the Profession.]

Society for the Encouragement of Arts, Manufactures, and Commerce, Adelphi, London, W.C.-The Council of this Society, desirous of remedying the inconvenience resulting to musical practice from the prevalent uncertainty of Musical Pitch, called together a Meeting of Musicians, Musical Amateurs, and Musical Instrument Makers, in the month of June, 1859. At this Meeting, after protracted discussion, a unanimous Resolution was passed, declaring that the adoption of one uniform Musical Pitch was desirable, and with a view to determine what this pitch should be, a Committee was appointed to make investigation and to report. This Committee, after careful consideration, made their Report, showing the results of their investigations, and the same was laid before a General Meeting, held at the Rooms of this Society, on the 5th of June, 1860; and the Meeting, after a full discussion, Resolved:" That the Pitch of 528 vibrations for C be recommended for universal adoption in this country."

We, the undersigned, Musicians, Musical Amateurs, and Manufacturers of Musical Instruments, desire to express our full concurrence in the above Resolution, and our intention, individually, to use and to promote the adoption of this Pitch, so far as lies in our power.

[We are of opinion that the names of the musicians and connoisseurs who attended the Meeting at which the above decision was adopted, should be added to the circular, as a testimony-for those who were absent, if not able to be present, and whose signatures are demanded of the weight that should be attached to it.-ED. M. W.]

MADAME JULLIEN starts on Wednesday for a tour in the provinces, which is to last three weeks. She will be accompanied by Prince George Galitzin and a numerous and efficient orchestra, together with the band of the Grenadier Guards, under the direction of Mr. Godfrey. Should the weather be favourable, Mad. Jullien will doubtless have bumpers in all the large towns, where the name of her lamented husband is a household word.

MR. WILLERT BEALE, the enterprising impresario, besides the party of artists to include Mad. Clara Novello, in her farewell tour, is organising a party for Mad. Grisi's farewell series of concerts; and also a brilliant company of vocalists, in which will be found Mad. Gassier, Mad. Viardot Garcia, Signor Graziani, the eminent barytone, and Signor Ciampi, the young buffo vocalist, who caused such a sensation, during the past season, at Her Majesty's Theatre.

As may be gathered from the programme, a more interesting

and more admirable concert of the miscellaneous kind had not been presented to the Boulogne public for years. Of course the grand centre of all attraction was Alboni, whose advent constitutes a veritable festival here, and whose annual, bi-annual, or otherwise periodical visits are looked forward to as special events in the annals of the seaport, and excites more commotion among the inhabitants and strangers than would the appearance of any living person, except perhaps Garibaldi himself. In short, Alboni is an immense favourite at Boulogne, and when she sings you may depend upon an overflowing audience. Need I tell you or your readers what effect the great soprano-contralto produced on her hearers. Look at the pieces alloted to her. Rossini should have heard her sing the magnificent air from his own Semiramide, which he must have composed-pre-composed · for her by intuition. What voluptuous vocalism, what large phrasing, what rounded elocution, what honey-sweet notes, what unpremeditated art! But the enthusiasm excited by this transcendent display of singing was even surpassed by Rode's air and variations, in which Alboni literally drove the multitude frantic, the excitement being only appeased by a repetition of the last variation. The brindisi from Lucrezia Borgia elicited another encore, which the great artist accepted with infinite good humour, though well nigh over-fatigued with her previous exertions. In the charming duet from Cenerentola, "Un soave," Herr Reichardt exhibited his talent as a Rossinian singer to the greatest advantage, and, indeed, I never heard him sing more gracefully. It is no small praise for any singer, male or female, to sing with Alboni and not be "snuffed out." In his own English ballad, which has obtained so much success in London, Herr Reichardt was unanimously eneored, and repeated it in French, which appeared even more than in the original version to delight the

audience.

The instrumental music was excellent, and Mr. Benedict particularly distinguished himself in his own fantasia on Irish melodies, which he executed with great brilliancy and effect. The other performances, too, were received with more or less favour, M. Paque and Herr Engel being entitled to unqualified commendation for their very fine playing on their respective instruments. In short, to finish where I commenced, a more thoroughly delightful and enjoyable concert has not been given at Boulogne for a long while.

On Wednesday the 22nd, Alboni is engaged to appear as Rosina in the Barbiere at the new opera here, and on the 25th as Leonora in La Favorita.

SPA.-The concert given by Vivier, assisted by Mlle. François and Franco-Mendes, came off on the 10th instant. On the 22nd inst. we shall have a festival that will make some little stir, for it will be given in honour of a new promenade that the Ediles of Spa have baptised the "Promenade Meyerbeer." The resolution was proposed to the authorities, by M. Servais, in the following terms:-"Among the celebrated visitors who honour our city with their presence, there is none who has been more faithful to us, none who is surrounded by more universal glory than Meyerbeer, one of the greatest artists of the age. During thirty-two years that the illustrious master has come to Spa, our mountains, of which he is so fond, have inspired him with more than one of those songs, energetic and gentle in turn, which constitute the delight of the musical world. We may, therefore, without temerity, claim a right to call this brilliant genius in some degree ours; for it is generally known that there is not one of his productions, from the popular and ever young Robert le Diable, to his latest creation, Le Pardon de Ploërmel, which did not first germinate, or which was not developed, among us. The "Promenade Meyerbeer" will call to mind, at every step, the works of the great masterin one place, the repose of Alice; in another, Bertram's bridge; farther on, the cascade of Ploërmel, the grove of Dinorah, etc. This monument, hewn out of nature itself, will not suffer the fate of many other monuments, apparently more solid; far from suffering through the injury of time, it will enjoy the advantage of increasing, and becoming green again every spring. It will be like the eternally beautiful music of Meyerbeer to whom you consecrate this memento." The communal council adopted unanimously the proposition of M. Servais.

BERLIN.-On the 19th of July, the anniversary of the death of Queen Louisa of Prussia, there was a funereal solemnity celebrated in the Luisen-Kirche, when fragments of St. Paul, The Messiah, and Mozart's Requiem were performed. The celebrated prima donna, Mad. Jachmann-Wagner, has left for Warsaw, where she is engaged for a series of performances. Orphée aux Enfers, by Offenbach, has attained its thirtieth night. On the 2nd inst., the performances were resumed at the Royal Opera-house, Hoguet's ballet of the Wonderful Lamp being selected for the occasion.

of the band greeted Herr Marpurg, who had organised and directed the festival with as much talent as zeal.

BERNE.-The festival here lasted two days. For artistic singing the "Harmony" of Zurich gained the first prize. The other prizes were awarded to the Liedertafeln of Bâle, Berne, Coïre, and St. Gall. For male popular singing, Rapperswill carried off the first prize, and Bâle the second.

VIENNA. The distribution of prizes given to the pupils of the Conservatory has taken place. During the last academical year, 336 pupils have followed the course of instruction; of these, 7 have received silver medals. In addition to the latter, there have been

21 prizes given away, while 72 pupils have been " honourably

mentioned."

SALZBOURG. Foremost among the musical institutions here is the Mozarteum, a reunion of salaried artists, under the direction of the composer, Herr Faux, who play, on Sundays and festivals, masses, vespers, litanies, and other pieces of religious music by Mozart, Beethoven, Joseph and Michael Haydn, Hummel, Aiblinger, Eybler, Drobisch, Nikolaï, and Reissiger. Herr Faux has himself written a mass remarkable for its style, as well as a litany in C major for four voices and orchestra. There is, too, the band of the collegiate church of St. Peter, though it has lost somewhat of its former fame, which attained its apogee in 1842-50. During these eight years, the Chevalier Neukomm used to spend his summer with a friend of his youth, the Abbé Nagenzaun, and direct the performance of his own works at St. Peter's. The Chapter have got some of his compositions in MS.

EMS.--This_town is, at present, the rendezvous for the aristocracy of all the countries of Europe. A brilliant concert was lately given by Henri Herz, Mlle. de la Morlière, and Mlle. Marie Cruvelli. Herz performed a grand concerto and three of his finest fantasias. Mlle. de la Morlière was most artistic and successful in two romances, the brindisi from Herculaneum, and the serenade of Gil Blas. Mlle. Cruvelli sang a grand air from Mozart's Titus, and two other pieces. We had previously heard, at the Kursaal, the brothers Lionnet, Alfred Jaell, Louis Jung, and Mad. Burde-Ney. We are expecting Vivier, Geraldi, Piatti, Mesdames Cambardi, St. Urbain, &c. Offenbach left a few days since for Paris. He came here for rest, but he found means to finish his three-act comic opera, Le Roi Barkouf, words by Scribe and Boisseaux, which will soon be put in rehearsal.

ROSSINI AND HIS IMITATORS.

(From Hogarth's Musical Biography and Criticism.) Mosè in Egitto was brought out at Naples in 1818. In this piece Rossini has attained an clevation of style which is not to be found in any of his other productions. The choruses are grand and majestic. The sublime prayer of the Hebrews, when preparing to cross the Red Sea, was an after-thought. Notwithstanding the transports with which the opera, in general, was received, the attempt of the machinist to represent this scene never failed to excite the risibility of the audience. This continued during the first season.

"The following season," says M. Stendhal, "this opera was resumed with the same enthusiastic admiration of the first act, and the same bursts of laughter at the passage of the Red Sea. The following day, one of my friends called about noon on Rossini, who, as usual, was lounging in bed with a dozen of his friends about him; when, to the great amusement of everybody, in rushed the poet Tottola (the author of the drama), who, without noticing any one, exclaimed, Maestro! I have saved the third act!' Well, what have you done, my good friend?' replied Rossini, mimicking the half-burlesque, half-pedantic manner of the poor son of the muses: 'Depend upon it they will laugh at it as usual.' 'But I have made a prayer for the Hebrews, before the passage of the Red Sea,' said the poet, pulling a bundle of papers out of his pocket, and giving them to Rossini, who immediately began to decipher the scrawl. While he is reading, the poet salutes the company all round, whispering every moment in the composer's car, Maestro, I did it in an hour. What in an hour!' exclaimed Rossini. Well, if it has taken you an hour to write this prayer, I engage to write the music in a quarter of the time: here, give me a pen and ink.' At these words, Rossini jumped out of bed, seated himself at the table en chemise, and in eight or ten minutes composed this sublime movement, without any piano, and without minding the chatting of his friends. There,' said

Rossini, there is your music; away about your business.' The poet was off like lightning; and Rossini jumped into bed, and joined in the general laugh at his parting look of amazement. "The following evening I did not fail to repair in good time to San Carlo. The first act was received with the same transports as before; but when they came to the famous passage of the Red Sea, the audience showed the usual disposition to risibility. This, however, was repressed the moment Moses began the new and sublime air, 'Dal tuo stellato soglio.' This is the prayer which all the people repeat after Moses in chorus. Surprised at this novelty, the pit was all attention. This beautiful chorus is in the minor key; Aaron takes it up, and the people continue it. Last of all, Elcia addresses the same vows to heaven, and the people answer. At this moment they all throw themselves on their knees, and repeat the same prayer with enthusiasm; the prodigy is wrought; the sea opens, to present a passage to the people. The last part of the movement is in the major key. It would be difficult to give an idea of the thunder of applause which resounded from every part of The spectators leaned over the boxes to applaud, exthe theatre. claiming, Bello! bello! O che bello!' Never did I behold such an excitement, which was rendered still more striking by its contrast with the previous merry mood of the audience."

The present Italian composers are mere imitators of Rossini, and are much more successful in copying his defects than his beauties. They are, like him, full of mannerism; with this difference, that his manner was his own, while theirs is his. They occasionally produce pretty melodies, a faculty possessed, to some extent, by every Italian composer, however low his grade; but in general their airs are strings of commonplace passages, borrowed chiefly from Rossini, and employed without regard to the sentiment and expression required by the scene. Their concerted pieces are clumsy and inartificial; and their loud and boisterous accompaniments show a total ignorance of orchestral compositions. This general description applies to them all.

THE BROUGH MEMORIAL FUND.-In furtherance of the Brough Memorial Fund, the London Savage Club are about to make a provincial tour, including Liverpool, Manchester, and probably some other towns, for the purpose of giving amateur dramatic performances. As yet the announcements are slight, stating little more than the facts that the performances will be given at the end of August, and that at Manchester the performances will commence with Charles XII. followed by Robert B. Brough's Crinoline, and a popular Burlesque by members of the Savage Club; together with a prologue written by Charles Swain, Esq. Mr. Charles Millward superintends the local arrangements, which, we are told, will contain the burlesque of The Forty Thieves, and it is hinted that amongst the amateur performers the following names will be found :-J. R. Planché, W. B. Jerrold, G. A. Sala, Leicester Buckingham, F. Talfourd, H. J. Byron, A. Halliday, and others.