-

business to themselves. The tenors who have already sung, are Mr. Augustus Braham, Mr. W. Parkinson, and Signor Giuletti; the first two in English, the last in Italian opera. The new speculation commenced on Saturday with Norma, Mad. Lancia, of course, sustaining the part of the hapless Druid priestess; Mr. Augustus Braham that of Pollio; Miss Leng, Adalgisa; and Mr. Rosenthal, Aroveso. Of Mad. Lancia the readers of the MUSICAL WORLD have already heard something. In April, 1858, our own correspondent at Turin wrote us a flaming account of the début of Mad. Lancia, an English lady then only seventeen years of age in the Barbière. Our correspondent wrote evidently under the influence of much excitement. It was certain, however, that the young lady had made a great hit, Mad. Lancia came to London the same summer, but did not create a profound sensation in the concert room. She then went on a starring tour to the provinces, and was very successful both in Italian and English opera. In Dublin and Edinburgh, more especially, she grew into high favour, and some of the local journals attempted to establish comparisons between her and Miss Louisa Pyne and Mlle. Piccolomini, all of which went to assert the superiority of Mad. Lancia. We believe the fair artist also performed last year in a series of operas at the Surrey Theatre. We have now heard Mlle. Lancia twice within the week in Norma, and can speak with some confidence as to her powers and capabilities. If style and method alone were to constitute a great singer, Mad. Lancia would, unquestionably, be one of the greatest before the public. Her mode of producing the voice is most admirable, and has evidently been derived from the best Italian teaching. Her voice, a real soprano, is neither particularly full nor sound in quality, not has it yet attained weight to adapt it to the perform ance of grand parts like Norma. It is, nevertheless, a most telling voice, extremely sympathetic, and always full of meaning. When we add that Mad. Lancia-at least as far as we were enabled to judge from two trying performances-invariably sings in tune, it will be acknowledged that the lady's vocal excellences are by no means inconsiderable. Of her merits as an actress we can speak with no less assurance. She is certainly deficient in largeness of style, and wants breadth and power for high tragic parts, as may be easily surmised, considering her youth and her size, which is somewhat petite. Her conception of the character, nevertheless, is wonderfully true to nature, is striking, and at times even powerful. Moreover, the lady has great earnestness and feeling, and is as graceful as a fawn. We saw nothing in the whole performance, indeed, which did not please us infinitely, and much which surprised no less than delighted us. Weighing the lady in the scale of our critical consideration, we have no hesita tation in saying that she is the best dramatic vocalist we have had on the English stage since Adelaide Kemble. Mad. Lancia is extremely young, and has many things to learn, but that she is destined at this moment to become a great artist is our firm conviction. The Pollio of the first night was Mr. Augustus Braham, who sang the music with much vigour and like a practised artist. The performance of Pollio, however, it seems, is alternated by Mr. Augustus Braham and Mr. W. Parkinson, the meaning of which entirely escapes our comprehension, more especially as Mr. Parkinson does not know a note of the music, and could not sing it if he did. Mr. Parkinson has been put into Pollio, we may suppose, for no other reason than that he is a great favourite with the public in the locality. Luckily for Mr. Parkinson, the audience on Thursday night was innocent of Count Pepoli's book and Bellini's music. Miss Leng, who played Adalgisa, has a good voice and a vicious style. If she could get rid of her vicious style, her good voice might be turned to considerable advantage. Lucia di Lammermoor, in Italian, was performed on Tuesday with Mad. Lancia as Lucy; a new tenor, Signor Giuletti, as Edgardo; and Signor Onorati as Enrico. All we can say of this performance is, that the tenor was no hit. Many operas are in preparation for Mad. Lancia, who, as may be imagined, is becoming better understood and appreciated every successive night. La Sonnambula is announced for to-night; Linda di Chamouni and Martha are being rehearsed. In the meanwhile, it behoves Mr. Douglas to be more careful of his prima donna. Singing every night in the week operas like Norma and Lucia would endanger the constitutions of even Grisi or Titiens.

The Theatres.

ADELPHI THEATRE.The revival of Mr. Bourcicault's drama, Janet Pride, is a judicious step on the part of the Adelphi management. At the old theatre, where most of the plays that constituted the type of the public was familiarised not only with the several plots, but with what was called a "real Adelphi piece" had been acted so often that every incident and every joke, Janet Pride appeared as a new specimen of the class, with every attribute by which the old successes had been achieved. A strong domestic interest, situations, that with small need of elucidating dialogue appeal at once to the eye, a number of leading personages large above the average, and a good comic character these are the elements that from early days have obtained the patronage of an enormous public, and they are all to be found in Janet Pride, The character of Richard Pride, first the drunkard of humble life, then the fearless bushranger, and, finally, the London scamp aping gentility, has always remained fresh in the memory as one of Mr. Webster's most striking creations, and the fact that he resumes it now is sufficient to render the piece attractive. The drunken scene, as of old, is the most effective connected with the part. That peculiar kind of inebriety that does not arise from any conviviality of disposition, but from a dogged resolution to drown unhappy thoughts, is delineated with wonderful truth in its various oscillations between surly brutality and maudlin grief. The part of Janet Pride is new to Miss Woolgar humble life. The airs of the town-bred coquette, who is most severe (Mrs. A. Mellon), who never acted more finely than as this heroine of in the discharge of her household duties, and most pertinacious in tormenting her lover, while she dotes on him from the depth of her heart, are as natural as possible, and nothing could be more forcible than her passionate appeal to the Court, during the trial scene in the It is a great merit of Miss Woolgar's delineation that even in the most pathetic moments, she never forgets the station of the chaShe is still the woman of humble life,the same whose

last act.

racter.

plebeian style of coquetry has, half-an-hour before, provoked the laughter of the audience. The enamoured Dicky Trotter, violent in all the emotions of love, joy, and grief, to such a degree that he is comic even when heart-broken, is played with free, genuine humour by Mr. stantly increasing. Mr. Selby, excellent as the old French watchJ. L. Toole, whose efficiency as a leading low comedian seems conmaker, which is one of his best characters, and Mr. Paul Bedford as the ruffian of the Australian bush, with a song of the Blueskin school, are, of course, welcome apparitions.

ST. JAMES'S.-After a series of benefit performances, the St. James's Theatre has launched itself into a regular "summer season." The programme is of a somewhat varying character, as far as the earlier portion of the evening's amusement is concerned, but there is a permament attraction in Mr. Planché's excellent burlesque, Fortunio, which bas been produced with no small degree of care. Miss Clara St. Casse is the smartest and most dapper of knight-adventurers, deporting herself with the most amusing confidence, and singing to the best purpose; and Mr. Joseph Robins abonnds in grotesque "fun" as the terrible Emperor, who bullies everybody and finds such constant difficulty in keeping his imperial word. A good chorus and an excellent corps de ballet also do good service to the burlesque.

THE HIPPOPOTAMUS.-(From the Times.)-The hippopotamus in the Regent's Park is so fond of concealing every part of its person save its extremely ugly face, which usually appears on the surface of the water, like an ill-favoured bubble, that the public may fairly welcome a specimen of the rare genus forced to abide on dry land, and consequently to take that direction of its amphibious nature which it seems most anxious to avoid. A hippopotamus placed under these circumstances is now exhibited at the Alhambra Palace, where its slow walk round the arena contrasts wonderfully with the rapid feats of the Brotners Berri, likewise amphibious beings, inasmuch as they divide their existence between earth and air. It is not too much to say that the tame hippopotamus in Leicester Square is one of the tardiest creatures ever witnessed. The surprise it occasions is precisely the reverse of that which was expressed by the Indian who saw bottled stout opened for the first time, and declared that his admiration was caused, not by the escape of the foaming liquor, but by his reflections on the immense difficulty that must have accompanied its incarceration. We are not so much surprised by the tameness of the animal as we are puzzled to imagine how a creature, raised to such an infinite power of piggishness, could ever have been wild. As some peoples seem

to have been fitted by nature for constitutional government, so does the hippopotamus seem to fall with the greatest facility into that peculiar kind of civilisation which consists in doing nothing. If we may apply to virtues the categories which are commonly applied to sins, we may say that those of the hippopotamus are all of omission. It is admirable, not for what it does, but for what it leaves undone. It allows a bulky gentleman of colour to thrust his head into its mouth without attempting his decapitation; it permits him also to ride on its back without trying to throw him off; nay, it listens to a comic song sung in its honour by Mr. Tom Matthews, and, though the pleasantry is somewhat of the dullest, it does not give the least sign of impatience. Altogether an exceedingly docile and well-mannered beast.

DRURY LANE THEATRE.-For the forthcoming season, Mr. and Mrs. Charles Mathews, Mr. Lambert (from Australia), Mrs. Frank Matthews, Mrs. and Miss Stirling are engaged, and will form part of Mr. E. T. Smith's company, to appear in a new drama from the pen of Mr. Thomas Taylor. Mr. and Mrs. Charles Kean perform here early in February, to be followed by Mr. Gustavus Brooke.

CRYSTAL PALACE. - Mr. F. Strange was fortunate in hitting upon one of the finest days of the entire summer for his annual benefit, which took place on Thursday. The entertainments, as last year, were of a novel and various description, including a concert by popular artists, with songs by the "inimitable" Mackney and the more imitable Sam Collins, performances by the band of the Coldstream Guards, racing on the cricket-ground, balloon race, display of the whole series of the great fountains, stick-play, boxing, high jumping, putting the stones, the broad-sword exercise by the Second Life Guards, ventriloquism, organ performance, Sinclair's magic, and magnificent fireworks. The Concert took place at two o'clock in the new concert-room, under the direction of Mr. Manns. Every seat was filled. The singers were Miss Emily Gresham, Miss Leffler, Miss Rebecca Isaacs, Miss Eliza Hughes, Miss Jane Palmer, Mrs. Lee, Messrs. George Tedder, L. Thomas, F. Scotson Clarke, and Montgomery. Miss Emily Gresham was encored in the air from Lurline, "Take this cup of sparkling wine," and "Coming through the rye," the last not accepted-Miss Leffler, in "The Skipper and his Boy ;" and Miss Rebecca Isaacs in "Logie o' Buchan." The visitors numbered between 16,000 and 17,000.

voice of excellent quality, sang "I am a roamer," at once effectively and correct. The programme contained the following favourite Glees by Martin:-"Auld Lang Syne," "Haste ye soft gales," "The Evening Star," "Our Saxon Fathers," which were well rendered. There was a good attendance, and we doubt not a satisfactory pecuniary result; and much credit is due to Mr. Lane, the promoter of the concert, for his laudable exertions in the cause, as well as for his valuable assistance in the vocal department (his voice being a capable alto).

MR. AND MRS. BOURCICAULT have returned from Paris. A new

piece by Mr. Bourcicault is now in active rehearsal, under his immediate superintendence, at the Adelphi Theatre.

MEYERBEER is taking the waters, not at Spa, but at Schwalbach. Mr. HOWARD PAUL gave his entertainment on Wednesday evening, for the benefit of the Lying-in-Hospital, Birmingham, and has handed over a handsome sum to that institution.

TESTIMONIAL TO THE ORGANIST OF LEEDS TOWNHALL.

Tenbury, May 8, 1860.

I have great pleasure in stating my conviction that of all persons I know Mr. Wm. Spark is the most fitted for the post of organist of the townhall at Leeds; for no one has so many opportunities as he has had of making himself thoroughly master of all the many and complicated resources and splendid musical effects which are the characteristic features of that magnificent instrument, in the handling of which he has proved himself so successful an adept. I should be truly sorry to hear that the post in question had fallen into other hands, for I retain a vivid and delightful recollection of the judicious and talented way in which Mr. Spark showed off the various beauties of the townhall organ when I visited it last winter, and I am quite sure it would be difficult, if not impossible, to do better justice to it, and very full of risk to entrust it to other and less experienced performers. I therefore cordially wish Mr. Spark all success.

FREDERICK GORE OUSELEY,

Prof. Mus., Oxon., and Precentor of Hereford.

NORWICH FESTIVAL.-On Monday week there was a general rehearsal of the principals at the Queen's Concert Rooms, Hanover Square. Mr. Benedict's Undine was gone through, Mr. and Mrs. Weiss sustaining the solo parts in it. Incomplete as such a performance must necessarily be, we are still enabled, even from this very inadequate development of its merits, to give an estimate of the value of this production as a work of art, and that estimate we are happy to say, is of an unequivocally favourable character. The main design, and the constituent ideas, as well as all that pertains to practical elaboration, give token of high musical genius, no less than of consummate skill in the nice adjustment of instruments, and the artistic production of effects. Herr Molique's Abraham has also had a trial, but without the solo singers. Mr. Benedict went to Norwich on the 22nd, for the purpose of conducting rehearsals of the local band and chorus. He remained week, and was present at four rehearsals--of Abraham, the Last Judgment, the Dettingen "Te Deum," and Undine, Armida, and the May Queen.

a

CHELSEA (From a Correspondent).-On the 15th inst. (August), a concert was given in the Oakley Assembly Rooms "for the benefit of a Professor of Music in adverse circumstances," for which occasion the services of the following artistes were kindly given -Miss Clari Fraser, Mrs. Robert Paget, Mr. George Tedder, Mr. Kenny, and Mr. Alexander Thornley, assisted by the Chelsea Glee Club. Solo, Pianoforte, Miss Ward; accompanist, Mr. H. Parker. Conductor, Mr. John Davis. An excellent programme was provided, and the artists acquitted themselves in a manner which elicited well-merited applause and many encores. Mr. Alexander Thornley, a new bass, possessing a

DEATH OF FLEXMORE, THE CLOWN.-The pantomime-loving public will learn with regret that Mr. Richard Flexmore, the well-known clown, died on Monday night, of atrophy, at his residence, Herculesbuildings, Lambeth, in the thirty-eighth year of his age. Mr. Flexmore may be said to have commenced life as a pantomimist, for at the early age of eleven years he made his first appearance at a small theatre which then existed at Chelsea, in a fantastic piece called The Man in the Moon. He danced very effectively a burlesque shadow dance. He subsequently became a pupil of Mr. Frampton, and showed great aptitude for stage business in his own peculiar line. He was especially celebrated for his close and natural imitation, à la Clown, of the leading terpsichoreans of the day, such as Perrot, Carlotta Grisi, Taglioni, Cerito, &c., and in these imitations none laughed more heartily or enjoyed them more than the originals who happened to witness them. He married Mlle. Auriol, and both himself and his wife, who survives him, became great favourites with the public. His last appearance before the public was for a benefit at the Surrey Theatre, either in March or April.-Express.

THEATRICALS IN NEW YORK.-It is only natural that we should take an interest in the dramatic progress of our Anglo-Saxon brethren on the western edge of the Atlantic; and it is observable, as we look over the columns of the New York journals, that in spite of the very large admixture of the German and the French element in the population, there is still a vast affinity with what may be considered thoroughly English tastes. Some, indeed, trench even upon the floor of the "Nursery;" for at Niblo's Garden, New York, and in one of their finest theatres, Blue Beard some time since was drawing crowded audiences-a Mr. Nixon,

the lessee, having "mounted" this mediæval legend with unusual splendour. The number of ladies who thronged to this spectacular exhibition is very great-a fact for which it is not easy to account, seeing that the hero is one of the least sufferable of domestic tyrants. Let us, however, charitably attribute their curiosity to pity for his victims. At the theatre called after, and belonging to, Miss Laura Keene, a higher quality of dramatic performance has been the staple-resembling in some sort that of our own Adelphi. The recent season was exceedingly successful. The name of Wallack revives many associations with the dramatic past of London; but the old English favourite has become thoroughly Americanised as the proprietor of the popular theatre under his name in New York-a theatre in which there is said to exist a wonderful perfection of mise-en-scène. The Bowery is another favourite place of resort, though not so fashionable as those before named, and we can hardly institute a comparison between it and any London establishment. Something between the Folies Dramatiques of Paris and the London Lyceum, will perhaps give the best notion of it. This, as well as the New Bowery, possesses some clever comedians, one of them, a Mrs. Allen, very pretty and accomplished, being the star at the former establishment. But we must not forget that the New Yorkists are proud of their Opera, and that they lavish large sums upon their Academy of Music. For the most part they have not recently been fortunate in assembling first-rate talent at this grand establishment, although the temptation to cross the Atlantic is sufficiently great as far as emolument is concerned. At the present time, one young lady who appears to be almost as much American as Italian, takes the lead, and is decidedly the "Pet of the Public"-we allude to Mlle. Angelica Patti. Our republican friends are not so easily pleased by names as many imagine. Nay, although they extend much toleration to singers, who would here be classed only as fourth-rate, they cannot, and do not, forgot the comparisons they have been enabled to institute with a Lind, a Grisi, an Alboni, or a Bosio (whom, by the way, they were the first to appreciate).

DISCOVERY OF OLD MUSIC.-The Minister of Public Instruction in Modena, having been informed that there existed some pieces of music of the sixteenth and seventeenth centuries, mice-gnawn and worm-eaten, in the Palatine Library, and that another collection equally valuable was stored in the National Palace, has ordered them to be put together and preserved, M. Angelo Catelani, master of the Cathedral Chapel and conservator of the library, much experienced in bibliography and musical literature, has been recently ordered by the Government to draw up a catalogue of these musical works, among which are many of the famed Stradella, many having been never published. This catalogue, accompanied by biographic, bibliographic, and historic notes, is to be published to the world.-Builder.

HOOD'S JOKES on HIMSELF. The very fingers, so aristocratically slender, that now hold the pen, hint plainly at "the ills that flesh is heir to;" my coats have become great-coats, my pantaloons are turned into trousers, and by a worse bargain than Peter Schlemehl's I seem to have retained my shadow and sold my substance. In short, as happens to prematurely old port wine, I am of a bad colour with very little body. I am working nevertheless, with pen and pencil, in spite of the M.D.'s, who ordered me to do nothing; but I found it so hard to do I preferred writing and drawing. Besides which, for all my ill-lookingness, there is one man coming to draw me, another to model me, as if I were fat enough to bust. Luckily, I am capital at sitting just now, and not bad at lying; as to walking or standing, I am as feeble almost as a baby on my pins, which, by the way, have dwindled into needles. — Memoirs of Hood.

THE SUBJECTIVE AND THE OBJECTIVE.-Othello is perhaps the greatest work in the world. From what does it derive its power? From the clouds? From the ocean? From the mountains? Or from love strong as death, and jealousy cruel as the grave? What is it that we go forth to see in "Hamlet?" Is it a reed shaken with the wind? A small celandine ? A bed of daffodils? Or is it to contemplate a mighty and wayward mind laid bare before us to the inmost recesses ?

It may perhaps be doubted whether the lakes and the hills are better fitted for the education of a poet than the dusky streets of a huge capital. Indeed, who is not tired to death with pure description of scenery? Is it not the fact, that external objects never strongly excite our feeling but when they are contemplated in reference to man, as illustrating his destiny, or as influencing his character.—Macaulay.

ANTIQUITY OF CARDS.-In Hindostan, the tradition is, that cards were known in that country at a remote period, - upwards of a thousand years ago; but I have not been able to learn that they are mentioned in any Hindostanee work of an early date; and I am informed, on the authority of the Sanscrit professor at Oxford, that there is no Sanscrit word for playing-cards. This last fact is, however, of but little weight as negative evidence of cards being unknown in Hindostan a thousand years ago; for long before that time, Sanscrit had become obsolete as a vernacular language. In China, if any credit can be attached to the two dictionaries, or rather cyclopædias, of the greatest authority in that country," dotted cards" were invented in 1120, in the reign of Seun-ho, and began to be common in the reign of Kaoutsang, who ascended the throne in 1131. Cards-carte-are mentioned in 1299; but as the MS. is not of an earlier date than 1400, there is in an Italian work, said to have been composed by Sandro di Pipozzo, good reason for concluding the word to be an interpolation, seeing that in several works in the earlier part of the fourteenth century, which had been cited to show that cards were then known in Europe, it has been discovered that the term cards was an interpolation introduced at a later period by a transcriber. The author of the "Güldin Spil,” a work written about the middle of the fifteenth century, and printed at Ansburg, in 1472, says that he had read that the game of cards was first brought into Germany in 1300. No fact, however, confirmatory of the correctness of this account, has been discovered; and the omission of all notice of cards by European authors of the earlier half of the fourteenth century, even when expressly treating of the games in vogue at that period, may be received as good negative evidence of their not being then known as a popular game in Europe: "De non apparentibus et non existentibus eadem est ratio." Admitting cards to be of eastern invention, it would seem that they first became known in Europe, as a popular game, between 1360 and 1390. Covelluzzo, an Italian chronicler of the fifteenth century, says, that the game was first brought into Viterbo in 1379; in 1393, three packs of cards were painted by Jacqueim Gringonneur, for the amusement of Charles VI. of France; in 1397, the working people of Paris were forbid to play at cards on working days; and, in the same year, card playing was prohibited by the magistrates of Ulm. Such are the principal facts relative to the introduction of cards into Europe. The game appears to have been rapidly spread amongst all classes of people. The manufacture of cards was a regular business in Germany and Italy prior to 1425; the importation of foreign cards into England was prohibited by act of parliament in 1463; and about 1484, cards, as at present, was a common Christmas game.-Chatto's History of Playing Cards.

SIR JOSHUA REYNOLDS AND HIS EAR TRUMPETS.-Sir Martin used to relate, what struck him as a singular fact in reference to the President's deafness an infirmity which, as is well-known, compelled, or suggested, in his case, the constant use of an ear trumpet. While at breakfast, and during the long-protracted interview which accomp. nied and followed that meal, the conversation with his visitors was carried on in the ordinary tone, without any assistance from the acoustic tube, or any indication of imperfect hearing on the part of Sir Joshua. During the morning, however, they were not unfrequently interrupted by the entrance of a servant, with a message or some communication that required his master's attention and oral reply; and on each of such occasions the appearance of a third person was the signal for the President to snatch up his trumpet and resume a look of anxious inquiry and uncertain comprehension befitting the real or supposed defect of his auricular powers.-Life of Sir Martin Archer Shee.

A POSSIBLE CONSTRUCTION.-Abernethy once said to a rich but dirty patient, who consulted him about an eruption, "Let your servant bring to you three or four pails of water and put it into a washtub; take off your clothes, get into it, and rub yourself well with soap and a rough towel, and you'll recover." "This advice seems very much like telling me to wash myself," said the patient. "Well," said Abernethy, it may be open to such a construction,"

"

THEATRE, Whitechapel HOUSE-PAVILION OPERA HOUSE PAVILION

By Order of the Committee of Management, J. GIMSON, Secretary. Royal Academy of Music, Tenterden Street, Hanover Square, September 5, 1860.

Road. Sole Mr. JOHN DOUGLAS. Entirely redecorated and reconstructed. Open every Evening, with an English and Italian Opera Company. First-class artistes. Signors GIULETTI, ONORATI, RULETTI, MAINETTI, LENG,

SALVI, and MORENO Mdmes. LANCIA VERONI, ZETI, AND UND ROSENTHAL, OLIVER

BRAHAM, W. M. PARKINSON, SUMMERS, R. MORROW, J. W. MORGAN, EVELYN, &c. Band and Chorus, 100 performers. On Saturday, September 8, Monday, September 10, and following Evenings, to commence at a quarter-past Seven, with the Opera FRA DIAVOLO, in English, supported by Messrs. A. BRAHAM, W. M. PARKINSON, E. ROSENTHAL, O. SUMMERS. Mad. LANCIA, Miss ANNIE LENG and the Entire Company. On Tuesday and Friday (ITALIAN NIGHTS). To commence with the Opera, on Tuesday, LA TRAVIATA; and on Friday, LUCREZIA BORGIA, by the Italian artistes. To conclude every evening with a Musical Burletta.

MEYERBEER'S GRAND MARCHF for the SCHILLER

FESTIVAL, performed at the Floral Hall and Crystal Palace Concerts, as Solo or Duet for Pianoforte.-Cramer, Beale, and Co., 201 Regent Street.

LOOD NIGHT," by I. LIEBICH. Reic

Reichardt's charming Wiegenlied (Cradle Song), transcribed for the Pianoforte by I. Liebech (forming No. 2 of Two Popular Melodies for the Pianoforte, by the above author), is now published, price 2s., by Duncan Davison & Co., 241 Regent Street, W.

T. MARTIN'S HALL. SOCIETY of BRITISH ST. MARTIN'S HALL. SOCIETY of BRITISH

valuable Library has miraculously escaped destruction by the late Fire, and will be Re-opened to the Members and Associates as soon as arrangements can be made, of September 3, 1860.

which due notice will be given. given. W. W.GRICE, Secretary, Committee Room No. 4.

THE MIDLAND COUNTIES VOCAL UNION, THE

consisting of the following Artistes-Miss AMELIA HILL, Mrs. JOHN HAYWARD, Mr. ROBERT MASON, Mr. W, T. BRIGGS, Conductor, Mr. W. C. STOCKLEY, may be Engaged for Oratorios or Miscellaneous Concerts, with or without Solo or Orchestral Instrumentalists. Applications for Terms, &c. to be made to the Secretary, Mr. W. T. BRIGGS, Cathedral Choir, Worcester; or to Mr. W. C. STOCKLEY, 120 Moseley Road, Birmingham.

GOOD NIGHT," by R. ANDREWS. Reichardt's charming Wiegenlied (Cradle Song), transcribed for the Pianoforte by the above popular author, is now published, price 25., by Duncan Davison & Co., 244 Regent Street, W. where R. ANDREWS'S transcription for the Pianoforte of THOU ART SO NEAR AND YET SO FAR (Reichardt) may be obtained, price 2s.

NEW. Sus REEVES with such immense success at Mr. Martin's (Exeter Hall); SONGS by BALFE. "I LOVE YOU," sung

Mr. Balfe's benefit concert at the Royal Surrey Gardens before 10,000 persons, 35.;

Mr. Lindsay Sloper's, and Miss Susannah Cole's Concerts (St. James's Hall), and at as well as Balfe's two charming Ballads, "Oh! take me to they heart again," 2s., sung by Miss KATE RANO (mezzo soprano) at Mad. de Vaucheran's Concert; and "I'm not in love, remember," 2s. 6d. sung by Mile. SEDLATZEK at the fashionable Concerts at Campden House, are published by Duncan Davison and Co. 244 Regent Street, corner of Little Argyll Street, W.

BRASS-BAND JOURNAL, published

every Month 100 Numbers are published, containing Grand Selections from all the best Operas, Quick Steps, Polkas, Quadrilles, Waltzes, &c., arranged for Large 15 Brass Band, 7s. each, and for Small Band, 4s. each. A very liberal allowance to the profession. List of contents gratisBoosey and Sons, Holles Street.

THE MAZURKAS of CHOPIN, edited by JW

and Biographical Preface by the Editor, and Portrait of Chopin, prices. or superbly bound in crimson cloth, gilt edges, price 10s. 6d.-The Athenæum of 2 say "This is a very handsome publication. The price is cheap, the page is clear and competent and well reasoned out Boosey and Sons, Holles Street. bonis | EN