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selves that such a building, with all requisite fittings, scenery, and decorations, may be provided at a cost of, at the utmost, £15,000, which sum it is proposed to raise in shares of £10 each. When the requisite amount shall have been subscribed, a meeting of the subscribers will be called with the object of making such arrangements as may be best adapted to carry the project into execution, having regard to the interests both of the public and of the shareholders.

In order to meet the general objection to joint stock companies, it is intended that the buildings and other property shall be vested by deed in trustees to be elected by the shareholders upon the same principle as the Exchange and other public buildings in Leeds. This will be a complete guarantee to the shareholders not only against any further liability or responsibility beyond the amount of their respective shares, but for the proper management and conduct of the theatre, as it is intended that the trustees thus selected shall have the sole power of selecting the manager and granting leases upon such conditions as they may think proper and advisable.

Already many gentlemen (including some of the principal inhabitants of this neighbourhood) have subscribed towards the undertaking, and thus upwards of £3500 have already been assured. It is, therefore, clear that a vigorous effort at the present moment will secure the success of the project, and will at once supply this important desideratum, and add another to those numerous public buildings which adorn our native town.

The committee therefore appeal for support to the well-tried public spirit of Leeds in the full assurance that the appeal will not be made in

vain.

P. FAIRBAIRN, Chairman of the Committee.

Foreign.

BADEN-BADEN.-At Baden-Baden the performances are on a grand scale. M. Benazet spares no money to make his Festival attractive and gives carte blanche to M. Berlioz for rehearsals; and with such singers as Mdmes. Viardot and Miolan-Carvalho, and M. Roger, and such players as MM. Vieuxtemps and Jacquard, the result could hardly fail to be what it was, one of the most superb and interesting concerts of which we have recollection. We must speak first of the music. The first overture to Les Francs-Juges, by M. Berlioz, was new to us, one of its writer's best works, since the melodic phrases therein are longer, and in their treatment are less traversed and obliterated by extraneous embroideries, than is the case with much other music from the same pen. Were this overture revised, it might be made one to rank amongst the highest works of its kind. The instrumentation is ingenious and splendid. The chorus-Sylph Dance and Dream from Faust-we have long rated to be one of the happiest inspirations of M. Berlioz: the melody is charming, and but for a bizarre outbreak towards the close, the conduct of the movement, how`ever intricate and rich in detail, is clear; as also the Dance in accelerated tempo, which follows the chorus-so deliciously instrumented. It should be a grave lesson to all lovers of art, that one whose aspirations are obviously so noble, and whose talent has one phase so original as M. Berlioz, should, till now, have been able to reap so limited a success, and that dependent on such exceptional resources as a M. Benazet-or other despot emperor-can alone furnish. He might have been "the musician of the future," - as it is, we can hardly fancy his music surviving when his own energy and resolution, and the prestige which a man of intellect must always command, shall have passed away. At this remarkable concert Mad. Viardot took the crowded audience by storm in her great scenes from Orphée, executing them with incomparable expression and brilliancy. This superb music, we repeat, is as yet unheard in London: and that such an artist, in her prime, whose performance of the character is one of the most notable things of our musical century, should have been overlooked for one so unequal to the task as Mad. Czillag must be signalised as a selfinjurious piece of managerial perversity; as though the object had been to deny Gluck a chance of entrance within our borders. Mad. Miolan-Carvalho was encored in a re-arrangement, by M. Gounod, of Bach s first Prelude, to which a vocal and an orchestral part have been added. M. Vieux temps is playing as splendidly as ever, but his concerto-music is intensely tiresome; shallow,

pompous, and perpetually balking expectation; music to which every remark made on M. Litolff's compositions applies with extra force. The chorus was excellent; the soprano voices singularly sweet and fresh. On the whole, we never attended a more interesting concert.

WIESBADEN.-This is the time of show-concerts at the German baths, somewhat presumptuously called "Festivals"—in reality, so many speculations of those who undertake to provide for the diversion of the guests, and who cater "stars" of first, second, or third magnitude, affording them such opportunities of shining as they find too rarely. Thus, at Wiesbaden the other day, a Litolff Festival gave us a fair chance of appreciating the talent of a composer who has in some measure been successful of late years in Germany, and who has received much praise from the pens of critics whose praise carries with it authority. Three movements of one pianoforte concerto, two movements of another, two movements of a violin concerto, an overture for full orchestra, and a liberal operatic selection, are sufficient to justify persons habituated to listen in forming some notion of what the average powers of their composer may be. After the elaborate panegyrics of which M. Litolff and his music have been the theme, the statement of such impressions as must be here offered will seem harsh, grudging, unsympathetic. But, to our thinking, he does not fill a place or a corner of his own in the world of living composers. So much as belongs to a group-call it not a school-of writers whose ambitions are very large, who have no perverse desire to be iconoclastic or irregular, but whose works, though carefully made, fall to the ground because of their ample platitude, and because their enterprise, when looked into, proves only seeming. There is no need for the moment to name those who may thus be grouped with M. Litolff as a composer. In the allegro of the first concertosymphonique performed by him at Wiesbaden, there are so many surprises, stoppings short, languid episodes, under a false idea of expression, as entirely to destroy the character of an allegro movement, and to throw out the average listener, who desires form, be it ever so freely dressed and disguised. Some invention is to be recognised in the florid passages for the pianoforte. The orchestra is well treated; but the perpetual notion of brewing a crescendo seems to have been present to the writer, and somehow the brewage, perpetually interrupted, becomes inevitably vapid. The second movement of this concerto, an andante religioso, is in every respect better, an excellent andante for a modern concerto, with a melody free and flowing, if not very new,—a rich instrumentation, and a gracefully effective employment of the principal player. In the scherzo (quare, last movement?) a pretty eightbar phrase is hunted to death,-occurring as it does some thirty times, in all manner of keys. Whipped to death" might have been said, since among other piquancies of orchestration, the use of the violins (if our ears told right) gave reviving sprightliness to what would else have been stale and threadbare. There may possibly be a finale to this curiously elaborate composition. As a player, Herr Litolff has neither advanced nor receded from the position taken by him years ago, when he was in London together with Dr. Liszt. There is dash,there is volubility, there is an apparent determination to storm Olympus (only the achievement is not done), — there is little charm. Meritorious, ponderous, not to be sat through a second time, — such, in brief, are our impressions of Herr Litolff's music. To attempt to analyse, even so slightly as has been done, his own other morceaux of his programme would tempt us into tautology. There are happy effects here and there, there is considerable cleverness, there is a discouraging absence of idea, there is a false notion predominant of grandeur and interest being secured by parenthesis, not continuity. A word or two more have to be said concerning this Wiesbaden Concert. The violin concerto was entrusted to a young boy (named Auer), who is a capital boy, handling his instrument without hesitation, strictly in tune, and showing that instinct for measurement of tempo which nothing can teach or regulate, but which is one of the signs of a grand and noble artist to come. Herr Formes sang the very aria from Die Zauberflöte in which he grasped as a new comer his English public; but his voice is over and gone," method he never possessed, what remains being a striking presence and imposing manner. Endowments so superb as his, with passing flashes of

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instinct for what is high, and true, and liberal, and poetical, have never in our experience been so mercilessly flung to the winds by their possessor as in his case. Grander natural means were rarely given to man; in saying this we only except Lablache.-(Foreign Correspondence of the "Athenæum.")

A MUSICAL ELENCH.-The German admirers of Herr Wagner are considerably puzzled just now to know what to do about the consistency of the author of Oper und Drama, the man who denounced all concession as so much claptrap, and everything that pleased the ear as blasphemy against the holiness of Art,-having heard that, in order to adapt his work to the Grand Opéra of Paris, Herr Wagner has consented to the interpolation of a ballet, for which he has written the music. Why will those who create lay down principles in their prefaces, and recommend their noble selves by abusing their predecessors and contemporaries? When was there ever a more specious and convincing document than Gluck's preface to Alceste, in which repetition was denounced as among other meretricious arts to please the public at the expense of truth. Yet in this very Alceste there are as many examples of da capo quite as superfluous, save to show the singer per se, as in the operas by Hasse, Lampugnani, and other of the light and gay Italians whom Gluck professed to mow down. Thus, after Herr Wagner's Spartan and self-asserting diatribe, this quiet acquiescence in attempting to popularise a composition which might else offer too little to satisfy the sprightly and dance-loving public of Paris is indeed instructive, by way of warning to all theory spinners, self-praisers and haranguers, if the rumour be correct. As historians bit by bit of the smartest controversy which has occurred in music since that betwixt Gluck and Piccini, we cannot overlook the rumour, nor the chagrin which it has caused among the sincere disciples of a prophet who is supposed to be yielding to "French influence."

The Theatres.

ST. JAMES'S THEATRE.-The "summer" performances at the most western of theatres takes this week a tragic direction, in consequence of the engagement of Mr. Barry Sullivan, who has just returned from America. As on the occasion when some years ago he made his first appearance before the London public, he has chosen Hamlet for the inauguration of his career. All the qualities that have rendered his memory estimable in the minds of playgoers he retains to their full extent. He is a careful, correct, and perspicuous declaimer, turning to good account his natural advantages of voice and figure, and he is, moreover, thoroughly versed in the routine of the part, which he has evidently studied with laudable assiduity. Though he makes no particular attempt to startle his audience, he is neither tame nor listless, and all that he does is well considered and quite to the purpose. A numerous audience witnessed his performance of Hamlet, and greeted him with a hearty welcome.

ASTLEY'S AMPHITHEATRE.-Under the management of Mr. Batty the old equestrian theatre promises to recover its ancient popularity. Mazeppa, always attractive from time immemorial, has been revived with new scenery and appointments, and draws audiences numerous far above the average. The scenes in the circle are all of them first-rate in their kind, Mademoiselle de Berg, the chief female equestrian, being at once remarkable for her gracefulness and courage. An entirely novel feat performed by this lady is a leap through a mail coach, which occupies the place usually assigned to hoops and banners. Of course, the coach is constructed of paper, but, although its material is frail, it has the three measures proper to solidity, and the sight of it is sufficient to baulk any but the most daring artist. Generally a spirit of thorough renovation pervades Mr. Batty's management. Astley's is so essentially a theatre of old associations that a lessee may easily be tempted to let it rest on its traditional fame alone, without essaying to provide it with the attractions familiar at other establishments. But Mr. Batty still adheres to the principle by which he was regulated when, previous to his opening last Easter, he had the house freshly decorated in every part. His dramas are admirably put upon the stage; the personages in the ring, whether equestrian or grotesque, are all costumed in tasteful fashion, and on each succeeding night look as smart as though it was the first occasion of their appearance. Altogether there is not a cleaner, brighter, and more commodious house in London than the timehonoured edifice at the foot of Westminster Bridge.

Letter to the Editor.

MUSIC FOR THE AUTUMN AND WINTER.

SIR, Everybody is delighted with the Floral Hall Concerts. They have come at a most acceptable time, are given in a building admirably adapted for the purpose, and Mr. Alfred Mellon has exactly hit upon the kind of musical entertainment, calculated now-a-day to satisfy all, Mozart and Haydn, and Beethoven, Mendelssohn, and Rossini may safely be given as the staple of the feast, provided a fair proportion of the pieces be vocal. The next six months will be the opera season of the class who frequent promenade concerts; a very large proportion enjoyment of Italian opera, or who will support the English from a of the music-loving public, who either cannot afford the expensive desire to see the noble art advance amongst their countrymen. Should not the success at the popular concerts of the music of the great masters suggest the desirability of substituting a performance occasionally of the operas of Mozart, Rossini, &c., in English in place of the interminable repetition of the native ones, which, excellent as one or two are, cannot be listened to for the 115th, 116th, and 117th times without tiring? If our best English singers be employed, we can do without one Italian Opera and have a genuine National one instead. A great Italian company was named for Her Majesty's Theatre for last season-let me give not a bad English one for the next: to wit-Miss Louisa Pyne, Miss Parepa, and Miss A. Whitty, Mrs. Baxter and Miss Pilling, Mr. Sims Reeves, Mr. Swift, and Mr. Wilbye Cooper, Mr. Santley and Mr. Weiss. serious consideration, I subscribe myself, Begging that you and Mr. E. T. Smith will take these matters into Your obedient servant,

Floral Hall, Tuesday Evening.

A VOICE FROM THE PROMENADE.

THE YORK ORGAN.

[THE following, which appeared in a musical journal upwards of twenty years ago, will be read with interest by such of our subscribers as sedulously treasure up all that relates to the history and progress of organ building in this country. Dr. Monk himself, the present able and conscientious director of musical affairs in York Minster, may probably derive some slight gratification from its perusal. ED.]

HILL AND OTHers, v. The DEAN AND CHAPter of York. THE written and oft-repeated testimony of the York organist, in favour of the new instrument, closed our first notice of this trial.

Lincoln, and a numerous band of agents and workmen. Sir The plaintiffs called Sir Robert Smirke, Mr. Gauntlett, Mr. Robert Smirke, it appeared, was engaged by the Dean and Chapter to superintend the restoration of the Minster, and in that situation forwarded a plan to the plaintiffs in which was delineated the position and disposition of the organ between the double screen walls of the choir and the side aisles. Subsequently he received orders to draw out a second plan, which totally differed from his former draft: he delivered this to the plaintiffs in June 1831, about fifteen months after the plaintiffs had been supplied with the other. The organ was built according to the second plan. The plaintiffs' workmen proved that during the whole of these fifteen months the work was proceeded with, and that by this alteration alone nearly the whole of the labour and material had been rendered useless. The expense was estimated at £1500 or £1600. Dr. Cockburn, the dean, is described to have been very troublesome, and the vagaries he indulged respecting the situation of the organ with the arch under it, the heights of the swell-box, the position of the 32-feet pipes, caused great additional labour and of Dr. Camidge, of whom he said "the doctor fancies loss of time. Neither was he inclined to listen to the suggestions cathedral my to be a case for his organ." The expense of the organ was sworn to be about £6000, of which more than £2000 was incurred by alterations and delays, caused by the parties connected with the

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tion were admirable, and not possible to be improved upon. It was the largest organ witness had ever seen. n ho really could not form an estimate of its cost, neither would he choose to be tied down to a contract in the construction of an instrument so large and peculiar as to its situation, a part of which could not be erected without enormous expense. The builder has certainly spared no expense or exertion to render his work perfect. THE ORGAN WEIGHS ABOUT NINETY TONS; witness could put no price upon such an instrument, and no man in the kingdom could do so. By comparison with the amount witness received for the Brighton organ (that in His Majesty's Pavilion) witness conceives the plaintiffs' demand very reasonable.

Mr. Gauntlett had seen that portion of the organ which had been constructed according to the first plan of Sir Robert Smirke, and had also seen, tried, and examined the York organ as it now is. It is now as to its conformation totally a different organ. In magnitude and mechanism it is unquestionably without rival in this country or any other. The effect of the pedale is astounding, although witness has heard a more brilliant quality of tone than that produced from the manuals.* The mechanism is very beautiful and complete, particularly the movement relative to the wind, which is perfectly unique in its construction and effect. Would consider any departure from the builder's original draft as involving a very serious expense in an instrument so large and complicated in its details. The reverend defendants called their organist and organ tuner; also a provincial organ builder who had repaired the old organ, and a London builder who had not seen the new one. Also a parish organist who had been engaged formerly in trade as a dealer in barometers. Dr. Camidge proved that the old organ had originally cost £1800 and had been repaired at an expense of £1200 more. Considers the organ as complete as possible, and should take it altogether as the finest in the world; witness certainly never heard such an organ, and considers it full a third larger than Birmingham. The scale of the pipes are as large as the room would allow. Considers £2500 a very fair price for the organ as it stands at present: but witness on being shown his own letter to Lumley Saville, in which he writes, "I firmly believe that the labour and material will require the whole sum, retracts that opinion and could not consider it a remunerating price. Witness considers the plaintiffs executed the work very amply, and thinks if they had proceeded as on a close contract, plaintiff's might have screwed him in the work. Says

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SWELL ORGAN.

Open Diapason
Dulciana

Stopped Diapason
Principal
Trumpet
Oboe

Sesquialtra (4 ranks)

In this organ are thirteen unison stops; and compound stops making fifteen ranks, besides a twelfth and nazaral. In the present organ there are only nineteen ranks of compound stops (five of which are in the swell) to stand up against twenty-three unison stops (namely, fourteen diapason, and nine unison, reeds). Let our readers balance the weight of a modern diapason with that of Blyth's scale, and the result must be as clear as a sunbeam. Dr. Camidge should add clarions, octave clarions, twelfths, larigots, tierces, and mixtures almost ad libitum. It may be remarked that the list of stops given to the York organ, in "Bellerby's York Guide," is most inaccurate, and not at all to be relied upon. We allude to the edition of 1832,

the Dean was "rough and rude" to the plaintiff Hill, and admits him to have been hasty and grumbling that the organ was not erected at an earlier period.

Ward, a country organ builder, deposed to repairing the old organ, and his astonishment at the new. Considered it impossible to make the large pipes speak when he first saw them. The York organ, witness thinks, is as fine a piece of mechanism as any workman could turn out.

Other unimportant testimony was adduced to which it is unnecessary to refer. The verdict gives the plaintiffs nearly £4000. They are supposed to lose about £1500 or £2000 by the transaction.

MR. SIMS REEVES is climbing mountains, and regaining health and strength, in the Swiss Oberland.

MR. JOHN OXENFORD has completed a translation of Clapisson's opera, La Reine Topaze, and is already engaged on another (we trust a better), both intended for Mr. E. T. Smith, an ecclectic, if there ever was one.

after next,

WORCESTER FESTIVAL.There is to be one novelty at the Worcester Festival, which takes place, be it recollected, the week this is, "The Erl-King's Daughter," a ballad, or cantata, by Herr Gade. This should recommend the concert at which it will be given to all who are tired of scraps, tawdry ballads, and thirty-times-told opera songs, with the opera dresses and scenery left out.

EPPING (From a Correspondent). -On Thursday evening, August 30th, a highly successful concert was given here, in aid of National Schools. The programme was of a superior kind; the the funds for the completion of the Epping and Sheydon Garnon first part sacred, the second secular, and was entrusted to the following artistes :- Mad. Weiss, Mad. Gilbert, Miss Palmer, Mr. Wilbye Cooper, and Mr. Weiss; at the pianoforte Mr. Alfred Gilbert. Through the exertions of the Rev. J. Tuck and Mrs. Tuck, the room was filled by the elite of the neighbourhood, who testified their gratification hy numerous encores and by retaining their seats until the very last note of the concert.

BELFAST.-(From our own Correspondent.)—At the consecration of the Rev. Dr. Dorian, the coadjutor Roman Catholic Bishop of Belfast, the following programme was performed at St. Malachy's in an excellent manner by Mr. R. Sutton Swahy and the choir under his command:

Veni Creator, Gregorian; Kyrie, Gloria, and Credo, Haydn; Sanctus, Mozart; Tantum Ergo, Spanish; Agnus Dei, Cramsic; Te Deum, Webb; Overture, Athaliah, Handel; Offertoire (No. 5), L. Wely; Larghetto, in F (Symphony), Haydn; Fügue, J. S. Bach; March, David, C. Horsley.

The soloists were Mrs. Ling and Mr. Cramsie, who acquitted themselves most creditably. Mr. Swahy deserves great praise for the marked improvement in the choir since it has been under his management.

OPERATIC MUSIC IN GERMANY.- There is no novelty in German dramatic music to be heard of. At Frankfort they have been playing Der Vampyr (with an ovation to Herr Marschner, who is said to have designs on the Grand Opéra at Paris, and for the moment is sojourning in the free town) and Der Freischütz; at Carlsruhe, Mozart's Titus, without one singer adequate to the music. There, it may be recollected, Herr Wagner's Tristan was to be produced last year. It was put in rehearsal; but after many weeks of laborious study, was abandoned as too uncouth-too little like music to be endured or learnt. His day, we believe, and, for the interests of art, hope, is done in his own country. Whether he will revolutionise Paris, under imperial protection, remains to be seen. In the theatrical line, Fraulein Gossmann, a comic actress, is turning the heads of young and old in Frankfort by her lively performances.

AGENCIES. Our intention of offering a few remarks on some of the morals and manners of musical administration has not been laid aside, though its fulfilment was deferred to a time when no possible personality could be connected with what was said. Our reason is, the universally reported increase of a system of indirect

dealing, which works ill for the art, ill for the artist, ill for the public: to come to the point, the system of agency and douceur. In no other world of selling and buying (says a contemporary) are these found satisfactory, both in one important feature being distinct from all business done by commission openly avowed. This feature is the secresy of the transaction, which naturally brings on an abuse of public good faith, placing it at the mercy of the artist who can bid highest for the agent's good word,—and of the agent who, by producing ware not worth its reputation for a "consideration," inevitably renders the task of merit more delicate in its scruples, more averse to all intermediate transactions,possibly, too, less ample in its means. While we would fain protect the artist struggling upwards, we are bound in continuation to ask whether the artists who have arrived are themselves clear of aiding and abetting so thoroughly vicious a system? What is to be said of the performer who, having before him the world of good music where to choose, prefers to perform, on the appeal of a per-centage, or payment in full, music from which pickings and perquisites are to be gleaned? Simply, that in al! proceedings of the kind they cease to be artists, and become hired agents in their own turn. It is only the mediocre or the mean among the composers who will bid for such spurious protection, by extending which the public again suffers, and the standard of taste is inevitably depreciated. Much has been said by those before the public concerning the venality of the press. Were this true to the extent complained of, have those who resort to indirect influence on the one hand, or on the other to covert payment, a right to complain? We put the case, in all its strength, before all real musicians. To them it will be known that any amount of evidence could be brought in justification of our broaching a question as important as it is delicate.

ST. MARTIN'S HALL.-The disaster at St. Martin's Hall deprives London, for a time at least, of one of its best concert halls. We are sorry to see it stated that Mr. Hullah has lost a portion of his musical library by the fire.-Athenæum.

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"Swifter far than Summer's flight," (sung by Miss Palmer at the Monday Popular Concerts); "False friend, wilt thou smile or weep," Beatrice's song in the Cenci (sung by Madame Sainton-Dolby, at the Monday Popular Concerts, St. James's Hall); are published by Cramer, Beale, and Co., 201 Regent Street.

The above Songs form Nos. 1, 2, and 3 of Vocal Illustrations of Shelley. "Mr. Santley was encored in one of the thoroughly picturesque and poetical settings of Shelley, by Mr. J. W. Davison, mentioned a week or two since. His song,' Rough wind that moanest loud,' is a thoroughly good song."-Athenæum.

in search of the Black Swan, alias a real Italian prima donna who NEW SONGS (sung by Mr. Santley at the Monday Popular Concerts); CRUMBS OF NEWS.-Mr. Gye has gone over the Alps, it is said, by J. W. DAVISON, Rough wind can sing.-Herr Hiller, though cordially invited to Leipsig to fill the place vacated by Herr Rietz, as chief at the Gewandhaus Concerts, declines leaving Cologne. In this we hold him wise. Herr Reinecke, some seven years ago known as a pianist of promise, has been appointed in his stead. "They say " that Herr Reinthaler is composing again; we should have had something new from him long ago.-What, by the way, has become of Herr Gade? He might have melted into the empty air for any "sound himself hath made" in Europe lately.-M. Bataille is about to leave Paris for the Grand Opéra at Brussels,-a real loss this to the French capital.-The Belgian capital is at last to possess an organ worth playing on, a new instrument of first class having been bespoken for the Palais Ducal, in which great musical celebrations are to be held.

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"Madame Sainton-Dolby's greatest efforts were called forth by Mendelssohn's Night' song, and Mr. J. W. Davison's False friend, wilt thou smile or weep' (from Shelley's Cenci'), to both of which she did the amplest justice. The latter work is one of the most poetical and beautiful of the Vocal Illustrations of Shelley,' composed by Mr. Davison many years ago, and which, though rarely heard, possess far more sterling merit than nine-tenths of the most admired songs of the day. A more intellectual treatment of the words could not well be imagined. Mr. Davison has completely caught the spirit of the poetry, and heightened its beauty by the potent charms which belong only to the sister art. False friend, wilt thou smile or weep,' sung to perfection by Madame Sainton-Dolby, was enthusiastically applauded." Morning Post, April 26, 1860. Cramer, Beale, and Chappell, 201 Regent Street.

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

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

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

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

London: DUNCAN DAVISON & Co., Dépôt Géneral de la Maison Brandus, de Paris; 244 Regent Street, corner of Little Argyll Street, where may be obtained"THE SULIOTE WAR SONG," sung by Mr. Santley, price 3s. "THE BLIND MAN & SUMMER," sung by Miss Palmer, price 2s. 6d. "ETHEL," Romance for the Pianoforte, price 2s.

"LEOPOLD," Mazurka Favourite, price 2s. ¡

Composed by Brinley Richards

EVANS'S

ENGLISH HARMONIUMS

MAY BE HAD IN EVERY POSSIBLE VARIETY,

GERMAN PEDAL REEDS (TWO OCTAVES AND A THIRD)
WITH AND WITHOUT PERCUSSION ACTION,

WITH

AND

SINGLE AND DOUBLE ROWS OF KEYS,

At prices from 10 to 140 Guineas.

Also with a self-acting Wind Apparatus.

THE HARMONIUM AT TEN GUINEAS Possesses the same superior tone and touch that characterise all EVANS's English Harmoniums, and is admirably suited for a Chapel or School. Room. It is in a handsome solid French-polished Oak case.

THE HARMONIUM AT SIXTY-FIVE GUINEAS With Double Row of Keys, is the most perfect instrument ever manufactured. The demand for this Harmonium being so great, orders should be always sent in good time to prevent disappointment.

Full particulars of EVANS's English Harmoniums may be had of BOOSEY and SONS,
Holles Street, London.

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

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

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

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

BOOSEY & SONS' SHILLING MUSIC.

ELEMENTARY WORKS.

Boosey's Shilling Pianoforte Tutor. Founded on the best Works extant, and including the Theory of Music, and a large variety of Exercises, Lessons, and Studies. 36 pages.

Czerny's 50 Best Exercises. Selected from the 101. 24 pages. 18. Czerny's Etude de la Velocite. In 3 Books, 1s. each; or complete, 2s. 6d.

Czerny's 101 Exercises. In 2 Books, 1s. each, or complete, 2s. Herz's Exercises and Scales. 1s.

Bertini's Celebrated Studies. Op. 29, in 2 Books, Is. each. Boosey's 100 Exercises, Studies, and Extracts, for the VIOLIN. Selected from the Works of the Great Masters. ls.

Boosey's Shilling Violin Tutor. An entirely new system. Edited by George Case. 24 pages.

24 pages.

Boosey's Shilling Flute Tutor. Edited by Clinton and Pratten. Boosey's 100 Exercises and Studies for the Flute. Selected from the Works of the great Flute Composers. Edited by R. S. Pratten. Is. Boosey's Shilling Cornopean Tutor. Edited by Stanton Jones, and including selections from the Works of Caussinus, Forestier, and Carnaud 24 pages.

Boosey's Shilling Concertina Tutor. Edited by George Case. 26 pages.

Boosey's Shilling Harmonium Tutor. 24 pages, large size. Boosey's Shilling Singing Method. Containing Exercises and Solfeggi, by Balfe, Rossini, Vaccaj, Bordogni, Crescentini, &c. 24 pages. Rode's 25 Caprices or Studies for the Violin. 1s. 6d. Fiorillo's 36 Caprices or Studies for the Violin. Kreutzer's 40 Studies or Caprices for the Violin.

BOOKS OF TUNES.

VIOLIN.

1s. 6d.

ls. 6d.

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will find it advantageous to engage the services of

LEE, NIGHTINGALE, & CO.

(for many years connected with the Liverpool Times, Liverpool Mail, and Liverpool Albion Newspapers), PRINTERS, LITHOGRAPHERS, ADVERTISING AGENTS, and NEwsPAPER CORRESPONDENTS, Swift Court, 13 Castle Street, Liverpool.

ANTERBURY HALL CONCERTS.-This Evening. C. H. Gounod's Opera, FAUST, and selections from "Dinorah," "Trovatore," "Macbeth," &c. After which, the ETHIOPIANS, consisting of Seventeen performers, organised expressly for this establishment, for the performance of Vocal and Instrumental Music, Comic and Sentimental, with Negro Delineations, Anecdotes, &c., in addition to the usual entertainment. The Fine Arts Gallery is open from Eleven a.m. till Twelve p.m.

Boosey's Complete Operas for the Flute. Price 18. each. 1. Les Huguenots-2. Robert le Diable-3. Masaniello-4. Ernani-5. Rigoletto6. Puritani-7. Sonnambula-8. Norma-9. Lucia-10. Lucrezia-11. Il Trovatore -12. Don Juan.

Boosey's Complete Operas for the Violin. Price 1s. each. 1. La Sonnambula, Bellini-2. Lucrezia Borgia, Donizetti-3. Norma, Bellini4. Elisire d'Amore, Donizetti-5. Lucia di Lammermoor, Donizetti-6. Ernani, Verdi-7. Masaniello, Auber-8. Don Pasquale, Donizetti-9. I Puritani, Bellini10. Les Huguenots, Meyerbeer-11. Il Barbiere, Rossini-12. Don Juan, Mozart13. Il Trovatore, Verdi-14. The Bohemian Girl, Balfe-15. La Traviata, Verdi16. Rigoletto, Verdi-17. Maritana, Wallace-18. Le Prophète, Meyerbeer-19. La Fille du Régiment, Donizetti-20. Luisa Miller, Verdi-21. Martha, Flotow22. Satanella-23. Dinorah. Boosey's Violin Classics.

Printed by GEORGE ANDREW SPOTTISWOODE, of No. 10 Little New Street, in the Parish of St. Bride, in the City of London, at No. 5 New-street Square, in the said Parish. Published by Joux BOOSEY, at the Office of BOOSEY & SONS, 28 Holles Street.-Saturday, September 8, 1860.

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