ROYAL ALHAMBRA PALACE: Proprietor, E. T. SMITH.-The Proprietor has much pleasure in informing the Public that he has purchased, at an outlay of £3.000, one of the greatest living wonders and curiosities of the age, a PERFORMING HIPPOPOTAMUS. This amphibious animal was captured in the month of April, 1858, but a narrative of the capture by Mr. John Petherick, Her Majesty's Consul for the Loudan States, may be amusing to the visitors of this elegant edifice:Since the year 1853 I have devoted six or seven months of that and each succeeding year in exploring the unknown regions of Central Africa. My starting point Khartoum, a town of 60,000 inhabitants, the capital of seven provinces, dependent on Egypt, called the Loudan, between 13 and 20 degrees N. latitude, and 27 to 36 degrees E. Jongitude. Leaving Khartoum, and navigating the White Nile to between 9 and 10 deg. of North latitude, a narrow channel, for the most part overgrown with reeds, which by former Nile travellers, had been considered unnavigable, attracted my attention, and pursuing it-not without difficulty finding a passage through various narrow openings in a forest of high reeds-I discovered this to be the connection between a large lake and the Nile, of which it is one of the most important feeders hitherto known. Its waters ornament several promontories and islands, more or less wooded by the acacia, mimosa, and sycamore, but little frequented by man, literally are swarmed by crocodiles and hippopotami; the latter in particular having made many rude attempts to dispute the passage over their hitherto secluded home by attacking my boat, battering-ram fashion, both under and on the surface of the water, and on one occasion, to the suprise and horror of all on board, a huge beast suddenly raising half its great carcase, with an agility hardly to be expected, out of the water, close under the larboard bow, carried off my unfortunate cook from the gunwale, on which, his back to the water, he was sitting, one bite of his powerful jaws severing his body in two at the waist. It was here, while returning in the month of April, in the year 1858, from the regions of the equator, when I founded an establishment of 25 armed men whom I brought with me (a part of a numerous escort from Khartoum), while the lake, according to the information received from the negroes of the Raik tribe inhabiting its southern confines, from its continued drainage into the Nile, after a more than usually dry season, was much lower than it had been known for many years, that the look-out at the mast-head, almost frantic with excitement, sung out a young hippopotamus,' and pointing to the reeds, within a few yards of which we were sailing, a dozen sailors leapt into the water, and, disappearing in the thick herbage, soon returned, one of them grasping in his arms, a young animal about the size of a spaniel dog; they both kept afloat, and propelled themselves towards the boat amid the shoutings and rejoicings of their brave fellow-companions. The unexpected but welcome guest was reared with milk, and was treated with all the attention we could bestow upon it. An Arab. Salaama by name, one of the most intelligent servants, was appointed to administer to the wants and look after the animal, who from that time to the present has been its constant attendant, and never, I believe, was there more attachment to man shown by any animal than exists between Bucheel (the Arabic for "fortunate," or, according to the manner of expression, "lucky dog"), the name given to the young hippo by its keeper Salaama, This enormous quadruped is a native of Africa, and is always found either in water or in its near vicinity. In absolute height it is not very remarkable, as its legs are extremely short, but the actual balk of its body is very great indeed. The average height of a full-grown hippopotamus is about 5 feet. Its naked skin is a dark brown, curiously marked, with innumerable lines like those on crackle china or oil paintings. The mouth is enormous, and its size is greatly increased by the odd manner in which the jaw is set in the head. The tusks have a terrific appearance, but are solely intended for cutting grass and other vegetable substances, and are seldom employed as weapons of offence, except when the animal is wounded or otherwise irritated. Although in its native river the female hippopotamus is a most kind and affectionate mother, the tame animal does not display such excellent qualities. The female hippopotamus, in the Jardin des Plantes in Paris, has twice been a mother, and twice has killed her offspring. On the last occasion she appeared to have been seized with a sudden fit of anger, for the marks of her teeth were only too plain on the poor little beast when its dead body was discovered, and her tusks had penetrated into its lungs. On the first occasion she killed it from sheer awkwardness, and after carrying it about on her neck in the proper manner, she bruised it so severely in her clumsy efforts to teach her offspring the proper mode of getting out of the bath that it never recovered from the hurts which it received. The hippopotamus has for years been extinct in Europe, but the fossil remains of the animal are found abundantly in London clay, showing that, in some remote age, the hippopotamus must have traversed the plains of England and wallowed in its rivers. There is another species of hippopotamns, which is smaller than that which has just been described, and is termed hippopotamus liberiensis. The hippopotamus has nothing in common with the river-horse. He seems to us an aquatic bull, and the porpoise, the latter predominating at present; but when he gets his tusks we much fear there will be an alteration in his manners for the worst. As to his eventual size the prospect is alarming. He is at present only a few months old, and he will continue growing till he is 15 years of age. A full-grown hippopotamus generally yields about 2,000lb. weight of fat, which is salted, and much esteemed. In Africa it is compressed, and a mild oil drawn from it, which is considered a certain remedy for diseases in the breast. In Angola, Congo, Elmina, and the western coasts of Africa they look upon him as an inferior deity. P. Labat considered that the animal had sufficient intelligence to let himself bleed when necessary, and perform the operation of rubbing himself against a sharp-pointed rock, and when he thinks he has bled enough rolls himself in the mud until he has stopped the wound; and it has been affirmed that the Indian painters make use of his blood as one of their colours. He does the most injury when he can rest himself against the earth, but when he floats in the water he can only bite; he has been known to upset a boat of six men, by lifting it out on his back. The hippopotamus has been mentioned in the earliest ages in sacred pig, or four-footed land porpoise; in fact, he appears to partake of the wild boar, the writings by the name of behemoth, and his figure engraved upon the pillars of Egypt; he frequently met them in Lake Tzana, in Upper Abyssinia. Dr. Klockner, in his Aristotle scarcely mentions him, Mr. Bruce wrote in his travels through Africa that trauslation printed at Amsterdam, stated that this beast deserved the most particular attention, being five cubits long, with cloven feet, like ruminating animals, and tusks like a wild boar, while the size of his body resembles an elephant. The hippopotami circus; 1500 years elapsed before the coufcil of the Zoological Society in the Regent's park undertook the conveyance of one from Upper Egypt; all attempts to obtain one on the west coast having proved fruitless. The visitors to the gardens in the Regent'spark rose from 169,000 to 370,000 to visit this extraordinary beast; the proprietor of the Alhambra trusts that the same number will view this extraordinary performing hippopotamus. The proprietor makes no additional charge. The Royal Alhambra Palace is open daily from 2 o'clock until 4 o'clock, and from 8 till 11 o'clock, The have been on many occasions exhibited by the Emperors of Rome to the people in the various performances will be continued, adding amusement, instruction, and enjoyment to the old and young, daily. Every novelty that can be procured for the publie will be purchased and produced, no matter at what expense, and the charge will be 6d, and upwards, according to the means of the visitors. The hippopotamus will, as nearly as possible, be exhibited at 3 o'clock daily, and at 9 o'clock at night. Reserved scats and private boxes can be booked during the day at the Alhambra. The public are earnestly solicited to witness this exhibition of the greatest living wonder of the age, more especially as such another opportunity may never occur, for, in all human probability, this will be the last hippopotamus brought to this country, as Mr. Petherick, the amount he had received for it. This the reader will more readily credit after pernaing Consul, declared that the expense of bringing the animal to England cost double the Mr. Petherick's interesting account of its capture and transport, which is sold in the Alhambra Palace for 3d. each, * 34 WE E have omitted TOMASCHEK, WORSIHCEK, BERGER, and a host of other pianoforte writers from our catalogue raisonnée, of the epoch immediately preceding our own, for the same reason that we have not spoken of LOUIS ADAM and some other composers of the time of Dussek, Though clever men, and the authors of a large variety of works, some of which have unquestionable merit, we cannot find that they have had much influence on their cotemporaries; nor have any of them left examples of the sonata, to show their acquaintance with, and attachment to, that grand form of musical composition. But there is one, who, though we name latest, merits perhaps the very first place among all those who were his cotemporaries,—we mean CARL MARIA VON WEBER, one of the greatest geniuses and one of the most original and distinguished musicians of all time. The gifted author of Der FreiSchutz, as our readers well know, ranked among the remarkable pianists of his age. He wrote a great number of works for the pianoforte, in many of which the peculiar characteristics characteristics of his genius are prominently displayed. Perhaps the most generally popular concert-piece ever written is the fantasia for pianoforte and orchestra in F, denominated Concert-stück. This morceau has been for many years the cheval de bataille of numberless players, from Mad. Pleyel, Liszt, and Litolff, to Alexandre Billet and Arabella Goddard. We have heard almost every pianist of fame execute the Concert-stück, Thalberg alone excepted. Weber also wrote a grand concerto în E flat, brilliant effort, in which, besides a number of passages entirely new, there are orchestral effects of great originality and excellence. The variations and miscellaneous pieces of Weber are well known, as are his quartet in B flat, and other compositions for the chamber the latter not by any. means his best works, while the former are in their incomparable. But after the Concert-stück, the most highly esteemed of Weber's productions are the four grand sonatas for piano solus in C major, D minor, A flat, and E minor. All of these contain movements as remarkable for their freshness as for their ingenuity-as, for example, the rondo finale ("moto continuo") of the first, the andante with variations of the second, and the allegretto and finale (tarantella) of the fourth. But most perfect of all in many a way respects is the third, in A flat, a work of romantic lovelinessa masterpiece which every pianist who loves his art should know and profit by. The fault of Weber's sonatas we say it with deference is a certain diffuseness which damages the regularity of their form, and an occasional monotony arising from the too frequent employment of passages strongly resembling each other in character. But the movements we have specialised are almost free from them, while in the sonata in A flat, from the exquisite grain of the principal themes and the captivating luxuriance of the subordinate passages, they become an absolute beauty. Weber, as everybody knows, has had numberless imitators, but fewer copyists of his pianoforte works than of his dramatic compositions and orchestral overtures, to which, and above all to his Der Freischutz, he owes his universal popularity. He may, therefore, be placed apart, like Beethoven a lesser star, perhaps, but still of the first magnitude. Of MENDELSSOHN we may say, as of Beethoven, that he shines apart from the rest of his cotemporaries. He was, beyond comparison, the greatest genius and the most learned musician of the age in which he lived, and which he has undoubtedly influenced more than any other individual, Spohr not excepted. The number of Mendelssohn's imitators are legion; the shelves of the music publishers groan under the heavy weight of their productions; you cannot see a new catalogue without observing at least fifty compositions which you may safely swear, without once looking at them, are little better than parodies of Mendelssohn's Lieder ohne Worte (the most popular type), or of something else equally his and equally not theirs. But these copyists of a great original, like the other copyists of another great original-Dussek-have chiefly occupied themselves with his mannerisms, being, as we have already said, wholly incompetent to emulate his beauties or his scientific acquirements. The best of them are those who began to write before Mendelssohn, and were afterwards carried away in the vortex of his fascinating style. The most eminent of these, and justly so, are FERDINAND, HELLER, and TAUBERT. Whether either of these wrote sonatas we are unable to say; we have seen many specimens of their works, but not a single sonata-although some stringed quartets, a pianoforte quintet, and a few orchestral essays of Hiller, who is a very admirable musician, show that he had cultivated the form, however inclined to develope it with undue exuberance. Heller, nevertheless, chiefly owes his influence to his Etudes, which have been assiduously practised by pianists, and have facilitated several peculiarities of mechanism. Most of Taubert's pieces which we have had the opportunity of perusing are caprices, fantasias, et hoc genus omne. "} It is unnecessary here to enter into details about the composers of our own time. Nearly the whole may be dismissed as followers, more or less successful, of Mendelssohn, Thalberg, Henri Herz, or Liszt, according to their respective tastes and styles. Of Mendelssohn we need say no more; of Henri Herz we have said enough. Of Thalberg and Liszt we may speak in a separate review, since neither having revealed any tendency to the development of the sonata form, it is not requisite to introduce them now, and our future task will be merely to discuss the influence they have exercised upon the pianoforte as the original of particular schools-schools of execution rather than of composition. Chopin, Stephen Heller, Sterndale Bennett-the three most distinguished composers for the pianoforte of our own times, with the single exception of Mendelssohn of course demand a special consideration, and on more important grounds. Henselt, and a crowd of others, romantic, unromantic, and "middling," may also come in for their share of attention. Macfarren, Reber, and other thoughtful writers, whose pianoforte compositions, highly as they must be rated, only occupy a subordinate position to their other works, can hardly be ranked in the same category. WE were entering the Alexandrina theatre for the purpose of superintending the rehearsal of our tragedy of Osiris, when we heard a voice from the manager's room utter these words, "Give me my goose and my pig, and I'll go." The door opened and forth stepped a little man, followed by a big man who carried in one hand a pig, and in the other a goose. The two men proceeded to a cab, which was in waiting at the stage door, deposited the animals therein, entered the vehicle themselves, and drove off. "That was Flexmore," said the manager to us a moment afterwards. "The pantomime has been running eight weeks, and his sucking pig has grown such a size that now he can't put it in his pocket. That's his affair, however. I shan't buy him another, and I've told him so." This was the first time we had seen a clown in his private clothes, and we had scarcely noticed him! Yet how often had we asked ourselves what a clown could be like in everyday life, and to what extent he probably introduced into it the manners and practices of his stage existence. It seemed to us, however, from the little we had seen, that whatever might be the case with others, Flexmore, at least, was almost as comic and eccentric a personage out of a pantomime as he was in one; and from that time we never could think of Flexmore without laughing-until last week, when we heard that he was dead! And what a strange death to befal the most agile of our pantomimists for it is said that he actually died of atrophy! One would as soon expect Paul Bedford or Tilbury to perish of St. Vitus's dance. The death of a popular clown, like Flexmore, surprises and shocks one the more from the fact that no one ever hears of clowns being ill; and perhaps also because from seeing them exposed, on the stage, without any ill effects, to all sorts of violent treatment, one gets accustomed to look upon them as proof against all the ordinary catastrophes of life. A singer of reputation is indisposed a certain number of times every season; but a favourite clown is never unwell, and it always seemed to us that the same immunity from bodily injuries and ailments, by which he is notoriously attended on the stage, accompanied him somehow or other even into private life. At all events since the death of Grimaldi (which, be it observed, did not take place until long after he had ceased to be a clown), we have heard of no clown dying, except a Lancashire one, who appears to have been an inexpert performer, and who, waking suddenly from a dream in a railway carriage, sprang through the window and received mortal injuries in his fall. Certainly no one who saw Flexmore last year in the Covent Garden pantomime could have imagined that he was so near death, nor do we know now either when he died, or even whether he was long ill. The clown asks us how we all are on boxing-night; but who, when the pantomime season is once at an end, troubles himself about the health of the clown? By the marriage of Flexmore with Mlle, Auriol, the families of the two most celebrated clowns of France and England became united. We involuntarily think of a line uttered by the despondent hero of "Locksley Hall." The first half: "As the husband is the wife is" was not strictly applicable, for Mlle. Auriol chiefly cultivated an elegant style of dancing; but the second: "Thou art wedded to a clown," might have been addressed to that lady with as much propriety as to the Amy of the poem. In marrying Flexmore, however, the daughter of the active and facetious "clown" of the Parisian Cirque made what was really a most suitable match; and had poor Flexmore lived, old Auriol whose feats, and especially those wonderful and celebrated ones with the chairs, were imitated to perfection by his son-in-law-would have had the honour of being succeeded not only by his son, but also, in a manner, through his daughter. Thus old Debureau was succeeded and replaced by young Debureau, and in so perfect a manner, that many who saw the son for the first time in his flour and his white tunic, fancied they were still witnessing the performances of the father. Flexmore, unhappily, leaves no one to replace him neither in a professional nor in a domestic sense-and his widow has a family of young children to provide for. We have first of all then, to regret the loss of a great artist, and without disputing as to which are the highest and which the lowest branches of art, we may here suggest to the reader, that it is a greater thing to be an admirable clown than to be an inferior tragedian; and that to dance a burlesque cachucha in a perfect spirit of parody, is a more artistic achievement than to declaim the soliloquies of Hamlet with much mouthing and no true dramatic expression. In the second place, there is something to be done for the artist's wife and little ones. It is said that Mr. E. T. Smith (if not, why not the managers of Covent Garden ?) will give the use of his theatre for a representation, which it is proposed to get up for their benefit. Let the public think of the much laughter for which they have been indebted to Flexmore, and of the tears that his family are now shedding for his loss; and even if the performance be less attractive than it probably will, it, at all events, will be numerously attended. FLORAL HALL. having conferred a very great benefit upon our unhappy towns- The concert on Saturday night, the first part of which consisted of a selection from the works of Mendelssohn, was as successful as the lovers of good music could have desired. The unpropitious weather failed to rob the familiar name of its attraction; and, though it rained all day without intermission, the doors of Floral sembled. Mr. Alfred Mellon may be complimented on his proHall were not long thrown open before an immense crowd had asgramme, which, besides being marked by excellence and variety, was so arranged that each succeeding piece afforded an agreeable contrast to its immediate predecessor : 66 Overture-"A Midsummer Night's Dream." Finale from the opera of Lorelei. The performance, from first to last, was worthy of the music, and the audience thoroughly appreciated both. The overture to Shakspeare's immortal fairy play, which, though an inspiration of early youth, is one of the most original and imaginative productions of its composer, was given with a delicacy and precision quite marvellous, the enormous area and configuration of Floral Hall taken into account. But-as was shown later in a still more elaborate work -the band of the Royal Italian Opera, with a director at its head like Mr. Mellon, is capable of achieving difficulties under any circumstances short of absolutely antagonistic. Nothing could come more happily after a piece so full of energy as the overture, than the part-song-perhaps the most universally popular thing of its kind-an image of repose such as music has seldom reflected, a THE recent stormy weather which with most persons (says The dream of the setting sun throwing its last rays on the quiet hills, a Morning Post) has proved a plaintive theme, susceptible of end- bit of harmonious landscape, in short, the "spirit of whose less dismal variations, has been to Mr. Alfred Mellon, the justly beauty" (to quote the English paraphrase of the words that incelebrated conductor and entrepreneur of the Floral Hall spired it)` can never fade away." After this the attention of the Concerts, a veritable "Godsend;" for the "ill-wind" has brought hearers was diverted into an altogether different channel by the him nothing but good, and the constant showers have been to impetuous concerto in G minor-another example of Mendelssohn's Mr. Mellon golden showers. Driven by stress of weather from astonishingly precocious talent-executed by Mr. George Russell, Cremorne, Rosherville, and all other places devoted to "open-air" a young and rising pianist, if not precisely with the "impetuosity' amusements, our pleasure-seeking public has wisely sought refuge most congenial to its character, at least with spirit, clearness, and and delightful solace within the brilliant, and at the same time well-sustained brilliancy. A trifle more of sentiment would not comfortable, precincts of the great glass-house in Bow Street, have been unwelcome in the slow movement; but Mr. Russell was where, besides the charms of a splendidly and tastefully decorated probably of opinion that very nice shades of expression might locale, excellent refreshments, and every possible convenience be lost under the dome of the Bow Street Crystal Palace, and so with respect to seats (so eagerly sought for by shilling "pro- designedly eschewed them. The accompaniments to the concerto menaders"), have been displayed, the attractions of the Royal were carefully played by the band, and at the conclusion Mr. Italian Opera's incomparable band and chorus, together with those Russell left the orchestra amid warm and honourably-earned of such celebrated and first-class singers as Mlle. Parepa and Mr. plaudits. The song from Heimkehr (known in England as Son Wilbye Cooper. All circumstances then duly considered, the and Stranger)-an opera composed by Mendelssohn to commemosuccess of Mr. Alfred Mellon's speculation (although the chosen rate (what the Germans call) the "silver wedding" of his father time, according to received ideas, meteorological propriety, and and mother (25th anniversary of their union)-is as full of chasocial custom, was certainly "out of joint") is not at all to be racter as it is charming. This, introduced last winter with great wondered at. To enjoy anything at all, especially anything musical, success by Herr Reichardt at the Monday Popular Concerts (St. at this moment, out of one's house, without being wet through, is James's Hall), and equally welcome on the present occasion, was assuredly a great privilege, and with due respect for the Cold-delivered with genuine artistic feeling by Mr. Wilbye Cooper. stream and other famous bands performing at decidedly damp The tranquil opening phrase is finely relieved by the episode deplaces, we really must claim for Mr. Alfred Mellon the honour of scribing the night-watch of the soldier, so appropriately announced The re JULLIEN-MELLON-GALITZIN. (From the Weekly Dispatch.) POOR JULLIEN!-whenever the bill is first beheld of the new enterprise in Covent Garden, this will be the exclamation of every candid lover of music. Now he is gone we can do him justice. Remoteness seems to be essentially a condition of just criticism. Not but that M. Jullien managed, in the twenty years he was among us, very effectually to live down the solemn sneering he first encountered. There was a traditional dulness in our orlittle Frenchman presumed to outrage it in his appearance and vivacity, as a matter of course, he was called a quack. There was also something so strange and irregular in the novel resources he employed to give character and vigour to some of his dance music his pistol-shots and whip-crackings, his gongs and orchestral shoutings-when his musicians seemed to grow envious of the glory of their instruments, and suddenly break in for a share, that among the dignified and somnolent of our musical cognoscenti, he was a charlatan forthwith. But all this was so much smoke-thin and transparent enough, it is true-that was sent up wreathing, to excite attention. People soon began to see that under it was flame! It was discovered after a time that this much scoffed at entrepreneur was not merely a being composed of a white waistcoat, striking gestures, startling pistol-shots and gongs, and a rather poetic style of literature. Year by year the fact came out that he had a purpose in him and a growth. As he found a public, he furnished music. He fed taste, he did not deprave it. He began by simply giving the world a round of polkas and quadrilles; he ended by presenting it with nights devoted to Beethoven and Mozart. He commenced with attacking the senses, he finished with entering the soul. His whole career had a progressive character, that gives us fair grounds to templated from the first a gradual improvement of the public His very outset seems to show this. He started with giving expansion to the conception of Musard. With the latter arose the notion of addressing music to the million, which, however light and exciting, should be enjoyed for itself alone. With the former this idea expanded into a scheme for elevating the music, till at length it was of a character to refine as well as delight. That M. Jullien, in carrying it out, sensibly aided in the spread of a musical taste among us, it would be perfectly futile to deny. The art history of our time cannot fail to acknowledge the service rendered by such a means as he presented, in its cheapness, excellence, and freeeom, to the gradual diffusion of an improved taste among the million. We can look back, then, with respect to the career of our lost musician, and readily excuse his eccentricities in the presence of his achievements. by the trumpet, and the whole was well adapted to separate the pianoforte concerto from the orchestral symphony, with neither of which it has the smallest feature in common. The Italian symphony was given entire, with the repeat of the first part of the allegro vivace-exactly, indeed, as the composer intended. On the whole, we can scarcely remember a mere satisfactory performance of this fresh and genial work. The profoundly touching andante of which it was said years long past that in writing it Mendelssohn had composed his own requiem-might have gained something by being taken a little slower, but here objection ends. mainder, especially the last movement, to which alone the sym-chestras, which had so long been considered dignity, that when the phony is indebted for the geographical expletive now conventionally accepted (undreamt of by Mendelssohn himself, who simply entitled it, "Symphony in A major ") the restless Saltarello, suggesting by its peculiar rhythm and colour the idea of a Neapolitan carnival, with all the contingent bustle and excitement -was beyond criticism. How thoroughly the whole was appreciated may be gathered from the fact that the movement in question was redemanded. With the finale of Lorelei before him, nevertheless, Mr. Mellon did wisely in withholding compliance, and resting content with the unanimous applause elicited. In this colossal piece-a splendid pledge of the dramatic genius of its composer, and of the triumphs he was likely to achieve had he been spared to labour for the stage as earnestly as he laboured for the choir, the orchestra, and the chamber-all concerned won laurels. Band, chorus, principal singer, and conductor, were alike assiduous in their duties, and with the like result. It was the last performance, and also the best, in a concert where everything was good. Never were the solos of Leonora-who devotes herself to the spirits of the Rhine in order to acquire the means of being avenged on a fickle lover (a Leonora promising to rival the still incomparable Leonora of Beethoven)-declaimed with more fire and vigour than by Miss Parepa, who (as everybody might have concluded) has just the voice for the part, and (as everybody might not have concluded) a true and forcible conception of it. The audience were so delighted that, without awaiting the final notes, they burst into such a storm of applause as almost drowned in its vehemence the united efforts of the voices and instruments, which go on accumulating power and grandeur to the climax. The "Volunteer Night" was given on Monday, under distintinguished patronage, and attracted an immense audience. There was a fair sprinkling of the grey-coated confraternity in the reserved seats and promenade, and the appearance of uniforms among the ranks of the orchestra had a very novel appearance. The programme embraced the overtures to the Siege of Corinth and Fra Diavolo, the funeral march from the Eroica symphony, grand selection from Guillaume Tell, Jullien's quadrille," The Campbell's are coming," and his "Last Waltz," and a new volunteer song, entitled, "Let any man with heart and soul," by Mr. Alfred Mellon. The audience was extremely enthusiastic, and when Mr. Wilbye Cooper came forward in the well-known uniform of the 38th Middlesex Artists' to sing Mr. Mellon's new volunteer song, the excitement was boundless, not without cause indeed, since the composition is full of martial ardour and was capitally sung. Jullien's quadrille, too-one of his most enlivening dance compositions-was received with thunders of applause, and No. 4 figure encored. Mr. Thomas Harper performed "The Soldier Tired," on the trumpet-a perfectly marvellous piece of execution -and was compelled to repeat it. Mlle. Parepa added to the attraction by some vocal performances. So attractive was the "Volunteer Performance," that the entire of the programme was repeated on Tuesday. The "Mendelssohn night was repeated on Thursday. Last night the Messiah was announced to be performed, the principal characters to be sustained by Mlle. Parepa, Miss Augusta Thomson, Mad. Laura Baxter, Messrs. Wilbye Cooper and Thomas. MEMORIAL WINDOW TO THE REV. DR. COLERIDGE.— At the west end of Exeter Cathedral has been erected, by subscription, a beautiful stained window to the memory of the late Dr. Coleridge, prebendary of Exeter, and formerly vicar of Kenwyn and of Lawhitton, in this county. It bears the following inscription :-In memoriam viri Rev. James Duke Coleridge, D.C.L., Prebendari Procuratoris. Obit. 1857. taste. suppose he con Where M. Jullien left his project, Mr. Mellon takes it up. Starting from the platform, as they say in America, of an advanced public appreciation, he has it in his power, it seems to us, to carry out the scheme to its utmost possible results. He can not only give us single nights, but important selections from the best masters, which, combined with good performances, both vocal and instrumental, of the first talent in the country, would gradually expand these concerts into a sort of Philharmonic for the masses. If few will deny this as a great end, as few will be found we are inclined to think, to question the capacity of Mr. Mellon to achieve it. A thorough musician and a good composer, he is perfectly conversant with all the music that is best adapted to his purpose, whilst his long experience as a conductor, both in concert-rooms and theatres, supplies him with the special faculty of conveying his selections in the best form. He has the further advantage of youth, which can combine with art and knowledge the vigour that is so essential both to inspire effort and to sustain it. It is not to be disguised, however, that such a project demands a certain talent for management as well as musical direction. And we are happy to see that Mr. Mellon is not wanting in indications of He retains, in the first place, the services capacity in that quarter. of the Covent Garden band and chorus, the very first in Europe. He selects for his locality the Floral Hall, and he associates with his enterprise the illustrious name of Prince Galitzin-a nobleman who may be instanced as one of the most striking social phenomena of our time. We had lately occasion to comment on the present age as one of wonders, and we might here adduce a proof that would of itself sustain our statement. Here is a Russian nobleman of such liberal sympathies that he raises funds for Garibaldi, and of such devotion to the cause of music that he is willing to become a public performer, in order to convey to the English public a just sense of Sclavonic genius. Such a fact alone stamps this enterprise with great distinction; and we need not say that, so inaugurated, the Floral Hall Concerts, which propose rather to develope than to resuscitate those of M. Jullien, commenced their essay on Monday evening, with no ordinary success. The performance may be said to have consisted of four distinct features its orchestral playing-its solo playing-its part singing -and its Russian music. Of these it cannot surprise that the last was the great attraction; and it is only justice to it to say that it deserved the interest it excited. Prince Galitzin's valse and polka, essentially Sclavonic in their character, had a vigour and variety that rendered them quite as enjoyable as they were interesting nationally. The "Sanctus," by Bortniansky, was a very able composition; and the gay finale to the Russian opera, which was also the finale to the concert, was as commendable for its dramatic spirit as its instrumental force and skill. THE MECHANIC TO HIS SWEETHEART. BY JOHN PLUMMER. I know that my hands may be hard and rough, But my heart is made of a good sound stuff And though in the world with my mates I stand, I take thee, my girl, by thy dainty hand, Though never a jewelled wreath may span The curls on thy beautiful brow, I'll pledge thee my heart and troth as a man, a And love thee for ever as now; And though the bright dreams of love's sunny prime Too often the future belie, The steep hill of life together we'll climb, And conquer our fate, thou and I! My coat may be poor, my words be but few, And rear us a home where happiness shrin'd [We have been requested to publish the subjoined statement.-ED.] A YOUNG lady of talent, who has produced several musical compositions, and having a reputation for ability, good character and conduct, has recently been dismissed from her situation as organist at a well attended District Church, after applying for increase of salary. This lady was educated for the profession under a musician of high repute. Her first appointment was at a Chapel of Ease about seven miles from London, at a salary of £20 a year. Here she continued for four years, respected by the congregation, and kindly treated by the clergymen. However, finding the distance (nine miles from her residence) was inconvenient, she retired, and obtained an organ at a District Church, newly erected, and nearer to her home. At this latter place she has also remained four years, and during that time has been subjected to much mor tification, unusual interference, and harsh treatment. The services, added to the practising of a choir and instructing the children, necessitate 228 attendances in the year, for £20, or 1s. 9d. each attendance, and occupy a large portion of the organist's time. The church is, in commercial phrase, a "paying concern," and the incumbency profitable. Some short time since the organist made respectful application to the incumbent and the churchwardens for an increase of salary. The result has been a dismissal and notice to leave from the incumbent, of his own "hoc volo sic jubeo." His power to dismiss an organist paid by the wardens out of church expenses' fund, and one who had given no just cause for removal, is doubted, but will not be contested. The organist will submit. Nevertheless, in most cases, and, even where the ruling powers are desirous of getting rid of the organist, it is customary to give the party an opportunity of ob taining another situation, and of resigning. Not so in this case. Twenty pounds a year, with a chance of a little teaching, yields but a poor income for a lady's maintenance; and there is much praise due to this class of the under-paid for reserve and delicacy in not wishing their trials and humiliations to be paraded before the public. In this rank stands the young lady in question, and it is to be hoped that her friends will recommend her as a teacher of music and singing, for which she is said to be highly competent. In the mean time, the subject of church organists and their pay deserves inquiry and consideration." GRISI AND MARIO-A few days since, our contemporary, the Globe, gave a flat denial to the report that Grisi and Mario were engaged by Mr. E. T. Smith, for Her Majesty's Theatre, next season. Subsequently our contemporary makes a retractation of its denial, and acknowledges that there is some foundation for the rumour. ROYAL ENGLISH OPERA, COVENT GARDEN.The performances under the Pyne and Harrison management commence in October with Mr. Wallace's Lurline - the great success of last season. The first novelty will be the production of Wagner's Tannhauser in English; the second, a new opera by Mr. Balfe. It is reported -but we cannot give the report credence -that the performances of English operas will be alternative with Italian operas, for which Mlle. Titiens and Signor Giuglini have been engaged as principal singers. EASTERN OPERA HOUSE, PAVILION THEATRE.-If few doubted the energy and enterprise of Mr. John Douglas-manager of the Royal Standard and Pavilion Theatres, and great musical and dramatic caterer for the east end of London-none were prepared for the introduction of bonâ fide Italian opera into the bourgeois regions of Whitechapel. Mr. Douglas, however, is too cunning to make so lofty an appeal all at once to the tastes and sympathies of his oriental audience; he knew better, and in place of commencing with unadulterated Italian opera, gave them a foretaste, on the opening night, of his Ansonian entertainments, by the performance of Norma in English. In short, to speak plainly, Mr. Douglas has opened, his season at the Pavilion Theatre with English and Italian opera alternated, and has provided a numerous, and, in some respects admirable vocal company, with a tolerable band, under the direction of Mr. Isaacson, formerly conductor of the Princess's Theatre, and an efficient chorus. The theatre has been newly painted and redecorated, and sundry private boxes affixed, to give the interior the veritable operatic air. The house is extremely handsome and commodious, and is well adapted for musical purposes. The company, we have said, is numerous. Mad. Lancia is the prima donna assoluta, and Miss Leng the seconda donna. Others are announced to appear in due season. As yet these two ladies have had all the leading |