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This method seeks to cultivate the voice, ear, and understanding in connection with the real nature of music itself. Price 2s. 6d.

FERRARI'S WORK

ON

THE VOICE AND SINGING,

Price Ss.

MAY BE HAD AT HIS RESIDENCE, DEVONSHIRE LODGE, PORTLAND ROAD, PORTLAND PLACE, And at all the Principal Music Sellers.

The STANDARD COURSE of LESSONS on the TONIC years, it is the most sensible, concise, and useful."-Daily News.

SOL-FA METHOD.

By JOHN CURWEN.

A simple and practical development of the method, for pupils as well as teachers; so written that persons accustomed to the Established Notation can easily understand it, and accompanied by courses of Exercises in the Old as well as in the New Notation. Price 1s. 6d.

The TONIC SOL-FA REPORTER and MAGAZINE of VOCAL MUSIC for the PEOPLE.

In 90 Penny Numbers, or in 3 volumes, each of 24 numbers, 2s. each. The current monthly Reporter (price 1d.) contains, besides 8 pages of music, 16 pages of information and intelligence. Its circulation approaches 10,000 copies a month.

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The CHILD'S OWN HYMN-BOOK,

Edited by JOHN CURWEN,

Contains 110 pieces suitable for Sunday School Anniversaries. The increasing popularity of this work is shown in the sale of 240,000 copies in the last year. Price ld. ; or, in cloth, 2d. For wholesale prices, apply to the Publishers as below. The CHILD'S OWN TUNE-BOOK. Companion to the above. Price 6d.

The SABBATH HYMN and TUNE-BOOK,

Edited by JOHN CURWEN, Harmonies revised by JAMES TURLE, Esq., of Westminster Abbey, presents at every opening a Tune, with six or seven Hymns carefully adapted to that tune, and marked for expression.

77 Tunes and 467 Hymns. Large type.

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"Of all the treatises on the cultivation of the voice that have appeared for many "There is more sense in this work than we find in nine out of ten publications of a similar kind."-Athenæum. "Here is a really sensible work."-Musical World.

CHEAP MUSICAL WORKS, published by BOOSEY

and SONS, Holles Street, London (all post free):-Rossini's Stabat Mater, for Pianoforte, by Smart, complete, 3s.; Mozart's Twelfth Mass, do. 38.; Moore's Irish Melodies, for Pianoforte, by Nordmann, 2s. 6d. ; Chopin's Mazurkas, for Pianoforte, complete, with Portrait, and Critical and Biographical Introduction by J. W. Davison, 88.; Mendelssohn's Songs, without Words, complete, with Portrait and Introduction by J. W. Davison, cloth, 7s. 6d. ; Meyerbeer's Dinorah, complete, for Pianoforte Solo, 7s. 6d. the Juvenile Pianoforte Album, 12 pieces, illustrated and bound, 3s. 6d. ; the Operatic Album, 100 gems from the newest Operas, for Pianoforte, in cloth, 12s.; Boosey's 100 Reels and Country Dances, for Pianoforte, 2s. 6d. ; Boosey's 100 Waltzes, by Strauss, Lanner, and Labitzky, for Piano, 3s.; Czerny's Etude de la Velocité, 2s. 6d.; Czerny's 101 Exercises, 2s.; Boosey's Part Song Miscellany, 18 Original Compositions, handsomely bound, 58.; the Harmonium Museum, 100 Sacred and Secular subjects for Harmonium, with Instructions, 7s. 6d.; Engel's Harmonium Operatic Album, 60 Gems for Harmoniums, 7s. 6d.; Christy's Minstrels Album, 24 Songs in One Book, 28. 6d. ; the Verdi Album, 25 Songs, in English and Italian, 4s.; Dinorah, for Voice and Piano, complete, 12s.

SANTA
Ar.
ANTA LUCIA, by WILHELM GANZ. A brilliant

Price 3s.

London: Ashdown and Parry (successors to Wessel and Co.), 18 Hanover Square.

JOHN

OHN FIELD'S SIX CELEBRATED NOCTURNES, edited by Franz Liszt. Price 2s. each. London: Ashdown and Parry (successors to Wessel & Co.), 18 Hanover Square.

KULLAK, LES ARPEGES.-This celebrated piece,

played by Mr. Charles Hallé with immense success, is published by Ashdown and Parry, 18 Hanover Square, London.

"I WOULD I WERE A BUTTERFLY," by A.

SCHLOESSER, Sung with immense applause by Mad. LEMMens-SherkingTON, is published, price 2s. 6d. by Duncan Davison & Co. 244 Regent Street, W.

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S. d.

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66

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6. TWENTY-FIVE CHARACTERISTIC

Book 1, Op. 100 Book 2, Op. 100 STUDIES, Book 1, Op. 66

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4 6 4 6

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OD SAVE THE QUEEN," for Four Male Voices, in the Crystal Palace, Sydenham, arranged especially for them by CAMILLE DE Voss, is published in score, price 6d., by Duncan Davison and Co. 244 Regent Street, W.

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F I COULD CHANGE AS OTHERS CHANGE," composed by M. W. BALFE expressly for Madame LAURA BAXTER, and sung by her with distinguished success at St. James's Hall and the Royal Surrey Gardens, is now published, price 2s. 6d. by Duncan Davison and Co. 244 Regent Street, W.

ELLIOT GALER'S NEW SONGS, composed expressly

for him by W. MEYER LUTZ, are just published,_viz. :-" Under the Linden Tree" and " Merry little Maud," price 2s. 6d. each, by Duncan Davison and Co. 244 Regent Street, W.

Reviews.

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command of the majority of amateurs. Though not by any means difficult, "Une petite Fleur" is, on the other hand, not so easy as to be played without some practice; but the trouble will be well bestowed. It is as graceful as it is unpretending, and as well knit as it is graceful, declaring at once the taste that disdains common-place, and the ingenuity that can make what is simple at the same time interesting. Mr. Lüders should manufacture a few more such "little flowers." They are worth the pains.

- Anton Rée. SOME pieces signed by an unfamiliar name. have sufficient cleverness combined with musical feeling to atone in a great measure for their want of originality, amid other shortcomings. Published at Kiöbenhavn (Copenhagen), we are unable to explain in what manner they found their way into the fish-pond we have recently begun to explore. At the same time, minnows though they be, we We had got away from the fish-pond. To return to it, are glad to look at them. The least pretending, though however; here is a minnow, or rather a stickleback, for in not the least pretty, are three dance pieces (Op. 11)-one place (page 2-line 3, bar 3, as far as line 4, bar 3) it "Ecossaise," "Polska," and "Bolero." Of these the most decidedly sticks, or stickles. This is a setting of a smooth spirited and characteristic is the "Bolero." The "Ecos- translation (by Mr. W. Anderson) of Beranger's" Oiseau." saise" has not a vestige of Scottish character; but the The melody begins well and progresses well, until the "Polska" (the name of a Swedish National dance in three- point in question is reached. Here the key of B minor four measure-not a bit like its near namesake, the Polka) comes very uncomfortably, just after a six, five, three on D is quaint and charming. "Deux Morceaux de Piano sharp has brought us into E major; and the uncomfort(Op. 10) though infinitely more pretending than the fore- ableness is not atoned for by an abrupt return to the key going, are not so satisfactory. "La Plainte" is an andante; in which the song commences (A major)-the melody "La Joie" is an allegro; both " Plainte" and "Joie" con- jumping up to F sharp, while the bass climbs from D to E, sisting of a sort of hash of Sterndale Bennett, the latter as if to demonstrate that a progression of consecutive fifths seasoned here and there with sauce à la Dussek. It is was not the most disagreeable in the harmonist's index exdifficult to describe these pieces; but in looking them over, purgatorium. one can hardly get rid of the feeling that something of Sterndale Bennett is going on not exactly as it should, that is, not exactly as Sterndale Bennett would have written it. There is a hint here of his Allegro Grazioso in A major; a hint there of one of his three romances (the last, in G minor); a hint elsewhere of some other piece from the same graceful pen. The exquisite finish which declares the Bennett-touch, however, is not in the touch of M. Rée who, but that he publishes at " Kiöbenhavn," might have signed his name Rae, or Rea, or Ray, or Wray, or (for a trifle) Ra. "Rée" though he be, he is well acquainted with our own Sterndale; and also has a sly hankering for Dussek's Elegy (Op. 61-on Prince Ferdinand), the last movement of which-with the famous syncopations-he has unblushingly parodied in page 10 (La Joie). "Unblushingly," we have said; nay-terrifically. A set of Cadences for Mozart's great pianoforte concerto in D minor three in number might have elicited unqualified praise as improvisations, or extempore productions; but (we submit it with deference) were scarcely worth publishing. The first (for the first movement) begins with a sort of parody of the "freakish" passage that runs through the finale of Beethoven's pianoforte sonata in F sharp major. In another place a fragment of Mozart's second subject is forced into wedlock with the accompaniment to a chorus in Mendelssohn's St. Paul (in E flat). Decidedly Herr (Mons. ?- Gospadin ?Mynheer?) Rée is not original. Cadence No. 2-for the same movement-has some bold (if not always exemplary) strokes, and is more to our liking than Cadence No. 1; the hint at another "freakish" passage in the slow movement of Mozart's own symphony in E flat being less open to criticism than the parody of Beethoven already cited. Cadence No. 3 (for the last movement of the concerto) is by much the weakest of the set, and contains, moreover (page 8), an attempt at canon on the fifth above, in which the keys of D minor and A minor are so clumsily alternated as to produce an effect infinitely more disagreeable than musical.

"Une petite Fleur," for the pianoforte, by Charles Lüders, Op. 48 (Chappell and Co.), could hardly have been more fitly designated. A little flower it is, and no mistake. Moreover (an evident advantage) its fragrance is at the

"The Bay of Dublin Quadrilles" by Wellington. Guernsey (Brewer and Co.) represent a whole globe full of glittering minnows. The view of the famous Bay itself (from Kingstown Quarries) which adorns the title-page is alone an attraction, and calculated to raise a vision of herrings, or conjure up an exposition of mackerel. But Mr. Wellington Guernsey's fish, though lively and tempting, are not of larger dimensions than properly appertains to the minnow tribe. On the other hand, all of them are extremely pretty and to the purpose. They might be served up to Terpsichore, with the Guernsey sauce, and Terpsichore not be dissatisfied. To be literal-all the figures are as taking as they are Irish, spirited, rhythmical, and (as our ferociously vivacious neighbours say) "dansantes." Guernsey, in short, could hardly have selected more attractive tunes or have arranged them more "convaniently. Two vigorous and excellent examples of the general treatment may be pointed out in "Kiss me, Lady" and "Dermot."

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"Still waters run deepest," words by "Zeila"; "Love's messenger," ditto ditto; Song of the Survivor," words by the Rev. W. Calvert (Addison, Hollier, and Lucas); are all more or less worthy the well-earned reputation of their composer, M. Francesco Berger, being though for the most part somewhat too elaborately written invariably melodious. In the last of the three, however- besides a transition to A flat (the key of the song being G) in the opening symphony, which being made nothing of subsequently, is (to say the least) superfluous we note a false relation (page 1-line 3, bar 3) between G natural in the first chord (six, three on E) and G sharp in the next (six, five, three on G sharp); further on (page 2-line 2, bar 3), a dissonance, composed of a major ninth, major seventh, and major sixth, on D, most unceremoniously taken, and decidedly objectionable; and still further, one or two other discrepancies which M. Berger might with advantage. reconsider. Even the simpler (if not the better) song, "Love's Messenger," might be improved, with less endeavour in the harmony to avoid the beaten track. This overfastidiousness is indeed M. Berger's besetting sin. He has given way to it less manifestly in the Spohrish ballad, "Still waters run deepest," but even here he may be

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MUSIC AND THEATRES IN PARIS.

(From our own Correspondent.)

Sept. 6, 1860. THE long-announced comic opera in one act, Le Docteur Mirobolan, has at last become palpable to the sense; and after the gloom of the long dreary wet summer, brings a welcome occasion for a little wholesome laughter and enjoyment. This merry little production is founded on Crispin Medecin, by Hauteroche, a writer who flourished in the last century, the date of its first appearance being 1764. It is needless to describe the plot, which savours of the broadest farce, and which, in the old piece, is treated with the license peculiar to the stage of that time. Much of the fun trenches on the delicate ground which Molière almost exhausted in Le Malade Imaginaire, and one of the principal scenes is that in which Crispin is laid out on a table in the place of a hanged criminal whom the Docteur Mirobolan is about to dissect. The authors of the opera, MM. Cormon and Trianon, have, however, dexterously softened whatever was too excessive in this species of humour, while retaining enough of the pith and pleasantry of the original work to engender the heartiest mirth without offence to the comparative squeamishness of modern audiences. The music, by M. Eugène Gautier, is entitled to a full share of the success which the piece obtained. It is extremely dramatic, and the resources of the orchestra have been well employed by the composer. Among the more successful morceaux were a lively quintet, a comic duo between Conderc and Mlle. Lemercier, and a pretty little song by Conderc, who plays the Docteur Mirobolan admirably, as well he may, for the part is exactly fitted to him. Mlle. Lemercier also showed herself an actress worthy of the Théâtre Français, and might vie with the best soubrettes that have appeared in our day. At the Grand Opéra Le Prophète is announced for Saturday, when Mad. Tedesco will sing the part of Fides. The performance is to be for the benefit of the pension fund of that theatre. Immediately afterwards, Mad. Tedesco and M. Niemann will place themselves at the disposal of M. Wagner for the rehearsals of Tännhauser. M. Obin, the excellent bass singer who lately distinguished himself in the part of Assur in Semiramis, is re-engaged for the ensuing season. Apropos of Semiramis, an edition of this opera is about to be published by the publishers of Le Menestrel in a very grand and luxurious form. It is to be adorned with two portraits of Rossini, one taken in 1820, the date of the production of Semiramide, by the miniature painter Moyer; the other from a recent photograph by Numa Blanc. It is to be further illustrated by drawings executed by M. Belin, representing the principal scenes of the opera. If the material part of the work be on a level with this magnificence the result will no doubt be a very valuable discovery.

The new opera at the Opéra Comique, which is announced as forthcoming under the title of Le Roi Barkouf, is the same which was spoken of under the provincial title of La Revolte dans l'Inde. It is by MM. Scribe and Offenbach.

I was extremely amused the other day by a paragraph in a French musical journal, of which, that you may share my enjoy ment, I give you the exact translation:-"The impulse given by M. Delaporte to choral music, and the recent visit of the

Orpheonists to London, are bearing their fruits. Two Choral Societies are in full progress towards organisation. Is not this want of information and conceit incredible? Is it wonderful that a nation which can thus morally shut itself within an impenetrable Chinese wall, beyond which all is in its idea barbarian is it wonderful that such a nation should be despot-ridden, as it always was and always will be? In the same paper, however, a little justice is done to this country in the letter of a correspondent from London, who says: The English nation is perhaps the only one in the universe which does not think itself the greatest musical nation, whence it follows that it possesses at the present time the best music in the world"-meaning the best musical performances. The writer, however, goes on after this to brag about his own countrymen, and how they have carried the palm in everything during the late expired season, which is simply not true, but he is obliged to bolster up his assertion by claiming a whole list of people as French who are English, Belgian, Italian, &c.

Some of the Italian papers have been amusing themselves with murdering Vieuxtemps at Stockholm by the hand of an assassin. These are the same bravos, no doubt, who aimed a deadly blow at poor Rubinstein last year, but did their work so badly that his mangled remains have been writing an opera for the court of Vienna. Why did not the bunglers finish him? As to the amiable Vieuxtemps, so scatheless has he escaped the assassin's dagger, that he has been, as I told you some weeks since, playing at Baden and at Hombourg, and was seen quite recently in Paris with not the slightest indication of the murderous attack upon him at Stockholm. The canard murderous is the most pitiful of the breed, and argues a terrible dearth of the imaginative faculty in the authors of his existence. I don't know whether the late announcement of another aristocratic marriage with an artiste is to be ranked with this sort of poultry-it is that of Mlle. Nathalie Eschborn with Prince Ernest of Wurtemburg. It is gravely stated in the papers here, but I wash my hands of all responsibility in regard to its truth.

From Brussels I am informed that the Belgian Association of Musical Artists has recently held its eleventh annual meeting, when the report of the secretary, M. Albert Delabane, was read, announcing that the capital of the society had increased from 85,000 fr. (£3,400) to 94,264 fr. (£3,770). The society is composed of ninety-eight members. The municipality of Cambrai have offered for competition the design of a new theatre, to contain from eleven to twelve thousand places within an area fifty-five metres in length by from twenty to twenty-two in breadth. There is evidently some error here in the number of seats.

The diapason reform proceeds. M. Calzado, the manager of the Italian Opera in Paris, is about to adopt it. The new instruments required to carry it into effect have been ordered and will be shortly ready. The pitch at this theatre was the highest of any in Paris, and it is said the singers will be grateful for the change. M. Calzado pays the expenses of the reform out of his own pocket. Lille has also adopted the new pitch, and here the city pays half the expenses to which the artists will be put by conforming with the alteration.

THE SAINTONS AT TOULOUSE.

(From the Journal de Toulouse). Nous avons dit hier, en quelques mots rapides, que la Société chorale de Clémence-Isaure avait donné une sérénade à notre concitoyen M. Sainton. Cet hommage rendu au caractère et au talent d'un artiste de notre ville avait réuni à l'hôtel de l'Europe un grand nombre d'amis de M. Sainton.

Après l'exécution de la Polka de Laurent de Rillé, du Veni Creator de Besozzi, et du Combat naval, dont notre compatriote avait emporté un bon souvenir à la suite du concert qu'il donna ici, il y a dix-huit mois, M. Sainton est venu remercier les Orphéonistes et les féliciter de l'ensemble qu'ils avaient montré dans l'inteprétation de ces morceaux. Aux paroles bienveillantes et flatteuses de M. Sainton, Mme. Sainton, née miss Dolby, a voulu joindre ses compliments et témoigner comme elle était sensible à l'attention de l'Orphéon toulousain. Elle ne pouvait le

faire d'une manière plus agréable qu'en se faisant entendre aux chanteurs.

Mme. Sainton s'est mise au piano avec une grâce charmante, et elle a chanté plusieurs morceaux anglais et allemands avec un style remarquable et un grand talent. Familiarisée depuis longtemps avec la belle musique d'Haydn et de Haëndel, elle interprète ces célèbres compositeurs avec le plus grand succès.

Elle n'a point ces éclats de voix que l'on entend chaque jour sur nos scènes françaises, ni les notes basses de nos contralti de conservatoire, sons équivoques qui n'ont de chant que le nom. Mme. Sainton-Dolby possède un organe exceptionnel, un contralto, comme on en trouvait à l'époque où Rossini écrivait pour ce genre de voix, d'une bonne étendue et descendant sans le moindre effort aux notes les plus graves. Elle chante avec art, avec expression, avec âme. Elle nuance chaque phrase; chaque note a une intention particulière et quelque morceau qu'elle interprète, Mme. Sainton va droit au cœur.

colossal "No. 9" (the Choral Symphony) was given on Thursday, and Mendelssohn's Elijah (entire) on Friday. The production of this last great work (worthy pendant to the Handel chef d'œuvre) was fully warranted by the reception accorded to The Messiah. Meanwhile the concert on Monday night, which was attended by an immense concourse, was extremely interesting, inasmuch as the first part was wholly taken up with compositions by native musicians. Among these, such ephemeral pieces as Mr. Kingsbury's ballad of "The Sailor's Wife" (sung by Miss Leffler); Mr. Callcott's Artists' Corps Polka (by the band); Mr. Mellon's Isabella Waltz (ditto); the cavatina, "O bright were my visions," from Mr. Mellon's Victorine (encored-singer, Miss Parepa); Mr. Hatton's part-song, "Ah! could I with fancy stray" (by the chorus); Mr. Mellon's new volunteer song, "Every man join heart and soul" (Mr. Wilbye Cooper); and Dr. Arne's "Soldier Tired," marvellously executed, as usual, by Mr. Thomas Harper Nous lui avons entendu chanter plusieurs airs de Haydn, de-the most admirable trumpet player in Europe, who has not Haëndel, des chansons populaires de Londres, deux mélodies merely succeeded, but surpassed his justly eminent father (also composées expressly pour elle par Luders et Randegger, et à encored)-chiefly represented our English composers in the light chacun de ces morceaux elle trouve le moyen d'intéresser l'audi- of unpretending, but, at the same time, none the less acceptable, teur; on est parfois saisi d'une douce émotion par la manière dilettanti. On the other hand, the trio from Mr. John Barnett's heureuse dont elle rend les plus simples idées. Elle cesse de Mountain Sylph (Miss Parepa, Messrs. Wilbye Cooper and chanter, on l'écoute encore. Thomas), together with that unexcelled choral glee of Bishop, "The Chough and Crow" (solos by Miss Parepa, Miss Leffler, and Mr. Thomas), consecrated by time, are now universally admitted as "classical." Nevertheless, the most striking features of the programme were Mr. Alfred Mellon's own brilliant and admirably instrumented concert-overture, entitled Romulus (literally, as the French say, enlevée by the orchestra); a pompous and thoroughly dramatic march, from Mr. Charles Horsley's new oratorio of Gideon (which, to the shame of our London societies, Glasgow had the credit of producing); and the better-known cantata of Mr. Howard Glover, entitled Tam o'Shanter. The last-named (with which Mr. Mellon took such pains as became him when the work of a distinguished brother musician was committed to his charge) was capitally executed, and brought the first part of the concert to a close with the utmost éclat. Mr. Wilbye Cooper's performance of the solo part was in all respects first-rate, the graphic text of Burns, and the stirring and characteristic music to which it has been set by Mr. Glover, being equally well delivered. No composition of recent times has more legitimately attained popularity than Tam o'Shanter. The warmest lover of the poetry of Burns, and especially of this his admitted masterpiece, could hardly have wished to see Tam o'Shanter wedded to music more inspiriting. Every scene, every incident, every shade of expression is felicitously caught and illustrated by the English composer, who-it may be said without exaggeration-has translated the romantic and inimitable Scottish legend into music so graphic and congenial, that it would be difficult hereafter to fancy it associated with any other. Tam o'Shanter was received with the warmth of appreciation that has never yet failed to attend its adequate performance since first produced (under M. Berlioz) at the New Philharmonic Concerts.

On reproche à la nation anglaise un extérieur froid et compassé; on prétend que l'Angleterre ne produit pas de bons chanteurs; Mme. Sainton-Dolby est une preuve évidente du contraire et si les Sociétés philharmoniques de Londres ont des éléments, nous ne dirons pas pareils, parce qu'on trouve rarement une organisation riche et complete comme celle de Mme. Sainton, mais des éléments que puisse seconder un si beau talent, nous comprenons l'effet que produit chez le peuple anglais les réunions musicales, si vantées, et nous regretterons de n'avoir pu connaître plus tôt une grande artiste qui unit à un si beau talent la grâce et l'affabilité les plus exquises.

PAUL DE LABURTHE.

FLORAL HALL.

THE Concerts under the direction of Mr. Alfred Mellon had, in less than a week after their institution, taken so firm a hold of the public that their early approaching termination was a matter to be regretted, not alone by the speculator, but also by the lovers of music who, at the actual season of the year, are afforded so few opportunities in this metropolis of enjoying their favourite recreation. Since our last notice the Mendelssohn selection has been repeated, the programme (with one unimportant exception) being identical with that which conferred such unqualified satisfaction on this day fortnight. A still bolder step-that of presenting Handel's Messiah (the whole oratorio-allowing for those slight curtailments in the last part rendered conventional by Exeter Hall) was followed on Friday week by a success which our neighbours "d'outre manche" might reasonably style "éclatant." The solo singers were Miss Parepa, Miss Augusta Thomson, and Mad. Laura Baxter, Messrs. Wilbye Cooper and Lewis Thomasall artists of eminent merit, and for the most part thoroughly versed in the music of Handel. The performance of this immortal masterpiece, under the direction of Mr. Alfred Mellon-who conducts an oratorio just as well as he does an opera, a symphony, an overture, or a concerto-literally enchanted an audience estimated at between 4,000 and 5,000 in number. So much for "unmusical London," at the non-musical period of the year. In any other city of the world, under the circumstances, there would, in all probability, not have been found a dozen persons to support such an undertaking.

" was

But the two "Mendelssohn nights," added to the "Messiah night," only led to further enterprise in the same praiseworthy direction. Mr. Mellon doubtless had occasion to note that the "education" given by the late M. Jullien to the "masses" too sound and general to be affected, in a prejudicial sense, even by the lamented death of the musician who was first to emulate the "schoolmaster abroad" of Lord Brougham. A Mozart selection was provided on Tuesday evening, a selection from Haydn's Creation was the chief attraction on Wednesday, while Beethoven's

On Friday the 31st ult. (writes an occasional contributor) was assembled one of the largest audiences that ever listened to the Messiah. That an announcement of the work that has been and is more frequently performed than any other extant, attracted so many auditors, must be attributed, over and above the work itself, to the reputation of the Royal Italian Opera Chorus, and to the important fact that it was Mr. Alfred Mellon's first appearance as an oratorio conductor in London. That gentleman, the versatility of whose talent is truly remarkable, brought the band and choir through with triumphant success. The choruses might have been more effective in the remoter parts of the Hall if the choir had been more numerous; but the capability of each member of the body was proved beyond dispute. Miss Parepa's execution of "Rejoice greatly" claims our suffrages for very brilliant delivery. Miss Augusta Thomson's singing is exactly suited in the air "How beautiful," which she rendered with very correct intonation. Mad. Laura Baxter and Miss Leffler divided the contralto music, the first lady achieving a well-merited success in "Ile was despised" (encored); and the latter singing "But who may abide" in a commendably correct style. Mr. Wilbye Cooper's

exertions to do justice to the arduous tenor music did not pass unnoticed; the plaudits bestowed on him were thoroughly deserved. Mr. Lewis Thomas (like his contemporary and senior, Mr. Weiss) holds the enviable position of a bass among a shoal of baritones. His solid manner, and the full round tone which increases in volume as he descends into the abyss below the stave, are all his own. He was enthusiastically applauded in "Why do the nations?" his delivery of the triplet passages being wonderfully exact, and the ponderosity of tone preserved throughout. The audience enjoyed the performance as if the work had never before been produced. Indeed the applause was occasionally more boisterous than is advisable at a sacred concert.

(From the Illustrated Times.)

A QUANTITY of new dance music has been produced at the Floral Hall, much of which has a military character, or at least military titles. Thus, there is a lively "Rifle Galop," by H. Farmer, in which the orchestra have to shout "Hurrah!" (a performance demanding no inconsiderable amount of animal spirits, especially as the said shout is in no way suggested by the music); and a polka, by Callcott, named after the "Artists' Corps," to which valiant company about half of the Covent Garden band belong. Let these admirable instrumentalists fight together as well as they play together let their execution in the field be anything like what it is in the orchestra, and their enemies will fall before them like one man. "The Artists' Corps Polka" (which we have not heard) was to have been performed for the first time at a semi-military concert given in honour of the volunteer movement and for the special benefit of the band of the said "corps." This company was, we believe, founded by artists of the brush; but the artists of the fiddle and the bow (or "artistes," as most of our contemporaries think fit to call them) seem now to form the majority

of its members.

We must not forget that Private Mellon has been wielding the bâton (Field Marshal in the orchestra-Full Private in the Rifles!) over one of his own compositions-a new waltz, named (as all waltzes should be) after a young lady, and not after a ferocious Muscovite republican like Mr. Alexander Herzen. What can there be in republicanism, and, above all, in Russian republicanism, that suggests waltzing? The memory of Colonel Pestal, one of the leaders of the insurrection of 1825, has been more damaged by an unscrupulous London music publisher, who connected his name with a vapid waltz-tune, than by all the sneers and misrepresentations directed against him by Russian absolutists. Prince Galitzin has behaved better to Mr. Herzen, the waltz named after him being, at least, a waltz of some beauty and some character. Now the Prince has given us a quadrille (performed for the first time last week at the Floral Hall) which is founded on Russian melodies, and entitled the "Ogareff," Mr. Ogareff being another republican, also (what is far more important) a poet, and a cooperator of Mr. Herzen in the publication of the Russian journal, of Paternoster Row, known as the Kolokol, or "Bell."

But to return to Private Mellon. His Isabella Waltz, then, is a very charming waltz, and an honour to the young lady after whom it is named. The new cornet-player, too, of Private Mellon's band has brought out a polka which gives the new cornet-player an opportunity of bringing out some difficult and distressingly loud passages. This is called, with some propriety, "The Whirlwind Polka," and when Mr. Levy is playing it we expect every moment that he will blow his own head off.

Finally, we "assisted" one night at the fag end of the performance of a quadrille, in which the music of the last figure appeared to have been twisted out of the magnificent march in the Prophéte. One of Handel's oratorios is announced for next week. Let us hope that no attempt will be made to convert any of its choruses into galopades.

As to the vexed question of the Floral Hall's special adaptability for musical performances, we can safely say that it is far superior in that respect to all other glass buildings that we know of-such, for instance, as the Crystal Palace, or the Palais de l'Industrie in Paris. The waves of sonority, however, are not sufficiently compressed by walls of glass, which, moreover, have the disadvantage of letting in a considerable amount of soundthat is to say, noise-from the outside. During the recent tole

rably successful imitation of a deluge the clatter on the roof has been like the rattling of small shot, and occasionally like the roll of a score of drums. Such an accompaniment, not having been devised by the composer, nor calculated upon by the conductor, nor in any way taken into account by the singer, is sure to produce a bad effect, especially with an air that commences piano like "Casta diva." There are portions of Norma in which the tattooing of the rain upon the roof would not be quite so much out of place; but it does not (as Mlle. Parepa we are sure will testify) suit "Casta diva” at all.

PROFESSIONAL SINGING IN CHURCHES. REPLY OF THE CHURCHWARDEN TO THE RIGHT REVEREND THE LORD BISHOP OF RIPON.

MY LORD,-It is with painful feelings of regret I feel bound to reply to your lordship's letter, published in the Leeds Intelligencer of the 11th inst.; also to that of an incumbent, which was also published in the Intelligencer on the 1th inst.

In your lordship's letter you state," "that a professional singer, Miss W., had been engaged to sing select pieces of music during the service. I consider such an announcement as this highly objectionable." I would ask your lordship whether you mean the engagement of Miss W., or the announcement of the pieces she sung as highly objectionable, or both. In either case I beg respectfully to express my dissent from your lordship's views.

This feeling is not mine alone, but also that of many others. We do consider select pieces-as anthems, spiritual songs, &c.—as parts of divine service, and quite as sacred; and when the performances of these sacred pieces draw together an attentive and sober-minded congregation to listen to and hear the Word of God preached, surely your lordship should pause and learn our position before you hastily condemn our proceedings. It may suit the purpose of one or two individuals to cause your lordship to censure us, the churchwardens; notwithstanding which I do not feel, as yet, convinced that we have justly merited your lordship's displeasure.

Your lordship also says, "I delight in good music." If so, how are you to have good music except through the medium of those who make a profession of it? It is usual in cathedrals and parish churches to engage professional singers. I cannot perceive the difference why the constant employment of professional singers should differ from their occasional engagement, as was the case in our church on the Sabbath alluded to. Again, I cannot conceive why the same objection will not apply to the organists of cathedrals and churches, they being chiefly professional men, and engaged in many instances at very high salaries. In either case their services are paid for. Nor can I see any objection to it.

I agree with your lordship that it is desirable that "all singing in churches in which the congregation cannot take part is objectionable.” In order to avoid that inconvenience, we stated in our notices, as your lordship will have perceived, what sacred pieces would be sung, and anyone who could or thought proper to join might do so. In doing this we only did what is regularly done in many cathedrals and some parish churches. If, on the other hand, it be your lordship's opinion that all professional singers and players are to be dispensed with, who are to sing the anthems, or sacred songs, during divine service as directed in the Book of Common Prayer? Your lordship will be aware that the anthems in the earliest period of church service consisted usually of a solo, or sacred song, followed by a chorus, in which the congregation might join: the same is generally the case with more modern music. You will also be aware that few, except a professional singer, would attempt to sing a solo.

Perhaps your lordship may say that it is the announcement of some particular singer which is objectionable. If so, may I ask your lordship in what way the announcement of the name of a particular clergyman to preach a sermon differs from that of a singer, when the object in both cases is the soliciting of money from the congregation for a purpose? The object in either case is to attract the attention of the public, and through that medium to procure their charitable donations. appeal to the parishioners and others through the medium of the church I will now go to a statement of circumstances which induced us to service. The district church, with which I am officially connected, not having undergone any repairs for the last 18 years (the warming apparatus erected in 1851 cannot be considered as such), it had suffered greatly from the severity of last and previous winters. The rain had penetrated the roof, and, in the rainy season, the water ran down on both the pulpit and reading-desk, as well as into the pews. The woodwork in the roof was beginning to decay. Matters standing thus, we,

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