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"THE HARP OF WALES."

Sung by Mr. SIMS BEEVES,

COMPOSED BY BRINLET RICHARDS.

Price 2s. 6d.

11 * The Harp of Wales' (sung for the 6r6t time) is a very graceful song, admirably 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.

H 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 CymrT, 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., Depot General 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 3i. "THE BLIND MAN & SUMMER," sung by Miss Talmer, price 2s. 6d. "ETHEL," Romance for the Pianoforte, price 2s. "LEOPOLD," Mazurka Favourite, price 2s.

Composed by Brinley Richards

SANTA LUCIA, by WLLHELM GANZ. A brilliant and effective Transcription for the Piano of this Popular Afr. Price 3s. London: Ashdown and Parry (successors to Weasel and Co.), IB Hanover Square.

JOHN FIELD'S SIX CELEBRATED NOCTURNES,

tl edited by Fran! Lint Price 2s. each. London: Ashdown and Parry (successor« to Wessel tc Co.), 18 Hano.er Square.

KULLAK, LES ARPEGES. —This celebrated piece, played by Mr. Charles Halle with immense success, is published by Ashdown and Parry, 18 Hanover Square, London.

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

J- Schloesser, sung with Immense applause by Mad. Lbsimens-sheruinc.tun, Is published, price 2s. fid. by Duncan Davison & Co. 244 Regent Street, W.

"/■"J.OOD NIGHT," New Song by A. Reichardt,

\-M Composer of *' Thou art so near nod yet so far," Is published, with Kngllsh and German Words, and a Portrait of Herr Reichardt, price 2s. od. by Duncan Davison & Co. 244 Regent Street, W.

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"ri OD SAVE THE QUEEN," for Four Male Voices,

V J assungby the Choir of 3000 FRENCH ORPHEONISTS, at the Fetes given In the Crystal Palace, Sydenham, arranged especially for them by Camille ns Voas, Is published in score, price 6d., by Duncan Davison and Co. 244 Regent Street, W.

MEYERBEER'S FOURTH MARCHE AUX FLAMBEAUX (" Royal Wedding March "), composed in honour of the Marriage of the Princess Royal of England with Prince Frederick William of Prussia which v.as playiKl with such immense effect by the Band of the Guides at too Fete of the Orphconistes at the Crystal Palace, is published fur the Pianoforte, price 4s., by Duncan Davison & Co., 244 Regent Street, London, W.

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"riOOD NIGHT," by R. ANDREWS. Reichardf,

V_J charming Wiegenlied (Cradle Song;, transcribed for the Pianoforte by the above popular author, is now published, price 2s., by Duncan Davison & Co 24i 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.

"TVTEW SONGS by BALFE. —"I LOVE YOU," sang

-LI by Mr. Sims lie Lives with such immense success at Mr, Martin's (Ezeter Hall), Mr. Lindsay Sloper's, and Miss Susannah Cole's Concerts (St. James'* Halt), and at Mr. Halle's benefit concert at the Royal Surrey Gardens before 10,000 perions, 3.,; Hs well as BaliV* two charming Ballads, *' Oh I take me to they heart again," Si, sung by Miss Kits Kano (mezzo soprano) at Mad. de Vaucheran's Concert; and "I'm not In love, remember," 2s. 6d., sung by Mile. Sbdlatzbk at the fashionable Concerts at CamDden House, are published bv Duncan Davison and Co. 244 Regent Street, corner of Little Argyll Street, W.

ILOVE YOU." By Emile Bekger, Sims Reeves' popular Ballad, composed expressly for bim by Balfe, arranged for the Pianoforte by the above popular author, is now published, price 3s., by Duncan Dariion ft Co. 244 Regent Street, W.

"T LOVE YOU." By I. Liebich. Sims Beeves'

_jl popular Ballad, composed expressly for him by Balfe, transcribed for the Pianoforte by I. Liebieb, is now published, price 2s. (forming No. 1 of Two Popular Melodies for the Pianoforte by the above author), by Duncan.DansoD & Co., 2M Regent Street, W.

"J NEVER KNEW HOW DEAR THOU WERT."

•v Song, by H. K. Morlby, composed expressly for and sung by Mia (the Poetry by Catherine Warfield) is just published, price 2s. W.,bj ivison and Co. 244 Regent Street, W.

New Soi Lascsllbs (the Duncan Davison

"DAMSGATE SANDS QUADRILLE. — The most

JLV popular set of the day. Founded on favourite and well-known melodies illustrating a visit to Ramsgate, in characteristic musie. By Burckhardt. Wth a men superb Frontispiece, by Braudard, in Colours. Boosey Ac Sons, Hollw street.

NOTRE DAME. Romance for the Pianoforte, by Emile Beroek. Founded on a very beautiful subject by Pcrifolesi. Price3i. Illustrated by Laby. Published this day by Boosey St Sons, Holies Street.

CHLOESSER'S BRILLIANT DUETS for Pianoforte,

i, Traviata, and Rigoletto. 5s. each. Ail effective, brilliant, Boosey & Sons, Holies Street.

s

and moder.itely difficult.

THE BALL ROOM MUSIC-BOOK, price 4s. in crimson cloth, containing 50 Waltzes, 40 Polkas, 10 Galops, 2 Schottische.,4 Var* sovianas, and 12 Sets of Quadrilles (complete). Boosey & Sons, Holies Street

SCHER'S CLOCHES du VILLAGE (just published)"

3f.; Ascher's " Thou art so near," 3s.; Ascher's Dioorah, 3s.; Ascher's Les Vepres Sicillennes, 3s.; Ascher's Un Ballo in Marchers, 3s. Boosey & Soai, Holies Street.

AN EVENING WITH MEYERBEER (published this day). Melange for the Pianoforte, by Nordmann, introducing beautiful (objects from Crociato, Robert le Diable, Dinorah, Les Huguenots, Vielta,&c. PriceH.; solo, 6s.; duet also. AN EVENING WITH BALFE, solo and duet. AN EVENING WITH CHRISTY'S MINSTRELS, solo and duet.

Boosey & Sons, Holies Street.

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WORCESTER MUSICAL FESTIVAL.

(From our own Correspondent.)

Wobcesieb, Sept. 10, 1860. There is a charm about the meeting of the Three Choirs which is almost sufficient to reconcile the London critic to the infringement upon the already sufficiently brief respite from his labours between the close of the summer and opening of the winter musical campaign. There are the nice, pleasant, (paint, clean old cities, redolent ofhistnric.il memories and associations, pacli overshadowed with its cathedral more or less beautiful, with their quiet " closes" and "college greens," their cool cloisters, their rich deaneries, suggestive of easy living and good cheer, and, added to all this, the healthy and unusual excitement of the towns' folk; the streets all alive with people gaily dressed wending their way festival-wards; the serried line of spectators watching their progress, seeming to think that the next best thing to enjoying yourself is witnessing the enjoyment of others; the frequent glimpse of a well-known face, familiar in the London orchestras, also hieing to the central point of attraction; and then the delightful neighbourhood of Worcester, with its bold range of Malvern hills; Gloucester with its Cotteswolds, and the lovely ride to Birdlip; Ilereford with its no less agreeable vicinage, hardly inferior in beauty, if not altogether as well known. Again, the rivers; who that has ever eaten of Severn salmon can fail to associate that king of all fish with the gently winding stream on which stand Worcester and Gloucester? The Wye, too, most picturesque of all English rivers —the "Rhine of England"—with its glorious Tintern Abbey, Symmon's Jut, Wyndclifle, boasting a view in no way inferior to the famous "Ehrenbreitstein;the Caldwell Rocks; Goodrich Court and Castle (now, alas, closed to the public); Ross with its " Prospect," its "Man," whom Pope has immortalised, its grandly situated Royal Hotel, with the not inappropriate motto in the garden, "Ici on se rajeunit;" and Wye salmon, also not to be forgotten, much less despised; and all three counties rejoicing in their cider and perry, excellent in draught, superb in bottle; indeed, in the latter form far superior to champagne, when taken with the salmon aforesaid. All these things being considered, we feel mollified, and to a great extent reconciled to the prospect of four morning and three evening performances (to say nothing of two balls) which characterise these triennial gatherings.

As this is the one hundred and thirty-seventh meeting of the three choirs, the reader will have no difficulty in fixing the date of commencement of the festivals, which have gone on increasing in magnitude and importance year after year. It is perhaps almost needless to reiterate the fact that charity is the primary object, the relief of the widows and orphans of the poorer clergy in the three dioceses being the purpose of the collection at the doors, and whatever surplus may accrue from the receipts of the Festival, after payment of all expenses; but as a deficit is the general result, and the difference is not taken from the voluntary contributions, a certain number of gentlemen accept the office of stewards, and from their own pockets make up the balance which ordinarily occurs between receipts and expenditure, leaving the collections intact for the fund. The idea of making a collection at the doors originated in 1724, with T)r. Thomas Iiisse, chancellor of Hereford, and brother of the Bishop; £31.10s. was the amount obtained. The following year at Worcester, £48. 10s. was subscribed. In 1729, Dr. Bisse in his Festival sermon, rejoiced that the meetings had already assumed the highest importance, but sC38 was all that was collected. At Gloucester the following year, it sunk to £28. 3s. It is needless to pursue the monetary part of the question farther, but for the purpose of comparison it is sufficient to say that at Gloucester last year £1,143. 3s. was subscribed (hcing the largest collection ever known), and that Worcester has a sufficient sum invested in the funds to contribute her yearly quota of some £60 to the charity. When the meetings were originally established, the members used to assemble the first Tuesday in September, and choral services were performed in the cathedral the two following days, on the last day a service and collection. For many years past the collections have been made every day, and the service held on the first. Worcester has made a change in the arrangements this year, devoting the whole of the

four mornings to oratorios, and giving the sermon at an earlier hour—half-past eight, substituting Croft in A in place of the Dettingen Te Deum, and one anthem only in place of the two which were usually given, and making no charge whatever for admission. In point of fact, divesting the strictly religious portion of the wee k of all appearance of or pretence to a grand musical performance, the members of the choirs alone, without the stars, band, chorus, &c, sustaining the services throughout. This we take to be a sensible step, as it not only disarms the objections of the captious, who did not like the association of a sermon with the names of London concert-room singers and opera-house players, but also affords an opportunity for enlarging the programme by the addition of another clear morning for sacred music in the cathedral.

A wonderful contrast is suggested between the humble gathering of what was then literally the meeting of the choirs and the vast assemblage now — a band of some seventy or eighty performers, most of them selected from the Philharmonic, Royal Italian Opera, &c, and chorus, making up with the instruments upwards of 300 — all the leading talent of the metropolis engaged as principals, the railway facilities bringing people in thousands where they formerly scarcely mustered in hundreds. In the important item of stewards, too, there is a remarkable difference. In 1754 the stewards were reduced from six to two, at which number it continued till 1798, when it was augmented to four, and afterwards to the original number. During this period tlic fortunes of the festivals fluctuated considerably. In 1774 the collection at Hereford amounted to £622. 5s. 9d., while at Worcester, nine years afterwards, it fell to £384. 12s. At the same city, in 1794, it was still further reduced to £266. 2s. 2d.; but in 1809 AVorcester redeemed itself by subscribing £810, a sum which would not be considered a bad average at the present time. Apart from the sums collected at the doors, the success (pecuniary) of the festivals has been very varied, so much so that even within the last four years it has been more than doubtful whether or not the music meetings would be brought to a final close. For this the clergy are in some degree to blame. At Hereford the Bishop is absent — the Dean proclaims himself a violent enemy to the proceedings, and shuts up the Deanery, flying the city as if it were plague-stricken. The Archdeacon, who formerly was one of the most active supporters, goes off in a huff, and but for the energy and public spirit of some few gentlemen, there would have been no Festival in '58. Some years previous a serious hitch occurred at Gloucester, aud to the late Rev. Dr. Evans, for v so many years one of the most active supporters of the Festival, the credit is mainly due of having persisted, at all sacrifices, in carrying out the original design, and preventing Gloucester being the first to break through the time-honoured observance- »f the music meetings.

It would be curious and interesting wcie it possible to investigate the balanco-okccti of me early festivals as compared with these of present times. We have, however, but little information on this head, beyond the fact that the members chiefly belonged to the college, their performances being gratis, with an exception in favour of the leader, whose pay was 5s. nightly, the members being refreshed with ale, cider, and tobacco. To induce regularity of attendance, a fine of 6d. was inflicted on each absentee. The Te Deum of Purcell and that of Handel, composed for the peace of Utrecht, were given alternately for many years, until the latter was superseded for the well-known Dettingen, which has held its place until the present year. The original price of the concert tickets was 2s. 6d.—they are now 10s. 6d.—the leader's pay being one guinea for the whole meeting. Mr. Woodcock, of Hereford, who then filled that important office, was famous for his performance of the fifth concertoof Vivaldi, whose Cuckoo Concerto may be known to a few amateurs of this generation. In 1733, the "famous Air. Powell, of Oxford " was the great star of the Gloucester meeting. Of this gentleman we know nothing at the present day; but that he occupied a position of great eminence in his time may be gathered from an extravagant rhapsody in the Gentletnun't Magazine of 1744, where the obituary pathetically exclaims :—

"Is Powell dead ? Then all the earth)
Prepare to meet its fate:
To sing the everlasting birth,
The choir of Heav'n's complete."

This is hardly inferior to the well-known—

"One God, one Farinclli."

As our readers are well aware, these Festivals are conducted by the organists of the respective cathedrals. Now, with all possible respect for the ability of these gentlemen, who are doubtless thoroughly at home with their own instruments, we cannot but think that it would be desirable to have a cAe/"with whose method of conducting the band is familiar; for it is hardly to be expected, however great the capacity as an organist, that any one assuming the baton once in three years should be competent to direct performances on the scale of magnitude that these Festivals have assumed. Granting that Messrs. Done, Amott, and Smith are not altogether unused to such oratorios as the Messiah, Elijah, &c, (although in these, without being hypercritical, we have more than once had occasion to find fault) it is in the evening concerts that their deficiency as conductors is apparent; a wavering beat, uncertainty and changes of time, frequently putting band and chorus at variance, and in some instances marring the efficiency of the principal singers. Of Late years, however, this has fortunately not been quite so apparent, thanks to having a leader like M. Sainton, whose unvarying steadiness is of immense service, acting as a foil to the somewhat eccentric gyrations of the local conductor's stick. More than once an attempt has been made to alter this, and secure the direction of a London conductor, but rested interests and other prejudices of like character have interfered, and so kept things in statu quo. One of the objections urged has been tne time-honoured cry of precedent—" It always had been so, and why should there be a change? — It would alter the character of the meetings, &c" Now, the fact is that it was not always so; for in 1737 Dr. Boyce, many of whose anthems still hold their place in our churches, was engaged to conduct the festival, and wrote an anthem for the occasion; and, as we shall show farther on, other conductors presided at various times. When Handel's oratorio of Samson was produced in 175-2, the prices were raised in consequence of the extra expense of engaging London performers, although this was not the first time that the metropolis had contributed her aid; for in 1733 (Mr. Powell's year) French horns, trumpets, hautboys, German flutes, and a '" fine treble harp," were engaged, to say nothing of the "first vocal" performers, of whose names we have no record. In 1754 Handel's Judas Maeeabatut was produced at Gloucester. In 1755 at Worcester the singers were Miss Turner, daughter of Dr. Turner, organist of Westminster Abbey; Mr. Wass, of the Chapel Roynl; Mr. Ronham; Mr. Baildon; and Mr. Beard. The latter gentleman was the Smtis Reeves of his day, taking the principal part in almost every musical pwaq that was performed, and being the original tenor in Esther, Ilandcl s fi10* oi-ntorio. He was one of the singers in the Duke of Chandos's chapel at Uauuum,, Koa in 1739 gave great scandal to the aristocracy by marrying Lady Henrietta Herbert, only daughter of James Earl of Waldcgrave, and widow of Lord Edward Herbert, second son of the Earl of Powis. Our musical readers will remember that the late Lord Waldcgrave married a daughter of the great John Braham. Touching the marriage of Lady Herbert, Lady Mary Wortley Montague, in one of her letters to Lady Pomfret, says:—" Lady Herbert furnished the tea-tables here with fresh tattle for the last fortnight. I was one of the first informed of her adventure by Lady Gage, who was told that morning by a priest that she had desired him to marry her the next day to Beard, who sings in the farces at

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honestly that since the lady was capable of such amours I did not doubt, if this was broke off, she would bestow her person and fortune on some hackney-coachman or chairman, and that I really saw no method of saving her from ruin, and her family from dishonour, but by poisoning her, and offered to be at the expense of the arsenic, and even to administer it with my own hands, if she would invite her to drink tea with her that evening. • * * Her relations have certainly no reason to be amazed at her constitution, but are violently surprised at the mixture of devotion that forces W to have recourse to the church in her necessities,

which has not been the road taken by the matrons of her family." With much more of the like good-natured character.

Her friends, however, were disappointed, as Beard appears to have been a man of superior attainments, good principles, and respectable conduct; and consequently he and his noble,wife enjoyed a fair share of happiness in the married state. After her death Beard married a daughter of Rich, and eventually became one of the proprietors of Covent Garden Theatre, dying in 1791, at the age of seventy-four. In 1757 Handel's Messiah was given at Gloucester for the first time, and received with enthusiasm, Dr.'Hftyes being the conductor. The following year Pinto, an Englishman by birth, but of Italian parentage, conducted. Pinto's son, who died in 1808, at the early age of twenty-one, was a most extraordinary genius, but of very irregular habits. In addition to being an excellent performer on the violin and piano, his compositions for these instruments, as well as for the voice, were both numerous and original. The Monday Popular Concerts gave one of his sonatas, A major, for pianoforte, the early part of last year, if we remember rightly. At the Gloucester meeting of 1760, Dr. Hayes again conducted, Esther being given in memory of Handel, who had died since the preceding anniversary. In 1770, at Worcester, Miss Linley (afterwards the wife of Sheridan) sang. Israel in Egypt was given for the first time at Gloucester with a new oratorio, Ruth (now entirely forgotten), by Giardini, who at that time led the band. Hereford, in 1777, took a novel step; — the introduction of an entire Italian opera: the example,however, was not repeated. Mr. Cramer, father of John Cramer, led the band at Hereford in 1780. Four years later the church services and anthems were confined for the first tinrc to the morning meeting in the cathedral, and the music which had been performed the same year at Handel's commemoration at Westminster Abbey substituted for the ordinary service. In 1788 George the Third and his queen honoured the Worcester Festival by their presence. The following year Mrs. Billington made her first appearance at these festivals. LinUley, the celebrated and well-remembered violoncello player, made his first appearance at Gloucester in 1798, and his last appearance at the saaie place half a century later. Gloucester certainly seems to have taken the initiative both in the production of new works and new performers; for in 1796 we find that John Braham made his appearance as principal tenor for the first time. Worcester, however, brought out Incledon in 1803; and Gloucester, in 1802, Mrs. Billington, and in 1811, Mad. C'atalani, when Braham resumed his post as first tenor, having just returned from Italy; and in 1814 Miss Stephens, afterwards Countess of Essex. We have before alluded to the responsibilities of the stewards; and so heavy were the losses they had to defray, that at one time (1798) no gentleman could be found to accept the office, consequently the meetings ran the imminent risk of being abandoned altogether. Tiie Duke of Norfolk, however, overcame the difBouUy; and,'although since then great trouble has been experienced in getting stewards, and from that and other causes the festivals have been repeatedly endangered, we think that now there is every reason to believe that they are established on a firmer basis than ever, the losses of late years having diminished to a mere trifle, and indeed twice at Gloucester, 1853 and '56, a surplus being obtained for the ohnritr. To Mr. J. H. Brown, the indefatigable secretary of the Gloucester meetings, belongs the credit of extending the number of stewards, having gradually increased from eight to no less than forty-four, whose names we find heading the programme of last year's meeting. The Rev. Robert Sarjeant, the zealous secretary of the Worcester festivals, has secured the goodly number of thirty-four stewards, amongst whom we find the &f> of Shrewsbury and Talbot, Earl Coventry, the Hon. F. G. Calthorpe, M.P., Hon. F. Lygon, M.P., Sir It E. Lambert, Bart, Sir E. Lechmere, Bart., the High Sheriff of 'the county, &C Should any loss arise it is not felt when distributed over so many; but when a deficit of £1500 has to be divided amongst six, as it has been within our recollection, it becomes a serious_ nutter. Another advantage, too, in numbers is this :—The majority of gentlemen selected are generally residents in the neighbourhood, and being pecuniarily interested in the success of the Festival, fill their houses with company for the week, and every day bring large parties to the Cathedral and Shire Hall, who not only steli the attendance, but contribute handsomely to the plates held at the doors with such persistence by the most charming and fascinating of ladies, whose earnest appeals are literally irresistible. We can understand any one refusing a donation when the plate is handed round at "Ebenezer" or "Little Bethel" by a sourvisaged deacon,- elder, or some such functionary, the mind having been previously prepared by listening to a dreary discourse from the Rev. Mr. Howl, and the body chastened by sitting in the most uncomfortably angular pew constructed of the hardest wood known. But after hearing a glorious oratorio, in a no less glorious cathedral, the dulcet strains of Clara Novello or Sims Reeves ringing in our ears, to have to run the gauntlet of a dozen or so of the most elegant and fashionable belles of the county, the heart would not be made of flesh and blood who could possibly withold his mite under such circumstances.

The list of principal singers is strong. First we have Mad. Clara Novello (who made her first appearance at Gloucester twenty-five years ago with Caradori Allan), and as this is the last opportunity the public will have of hearing her marvellous voice in the place of all others where it sounds to the greatest perfection—the nave of a cathedral—we doubt not that this fact will of itself be sufficient to attract vastly increased numbers to the morning performances. The remaining soprani are Mesdames RudersdorfF, Weiss and Parepa; contralti—Mad. Sainton-Dolby (the Worcester stewards not following the example and bad taste of the Norwich committee), and Miss M. Wells. Tenors—Mr. Sims Reeves (without whom no festival can be considered complete), Messrs. Montem Smith and Mason. The bassesMessrs. Weiss, Briggs, and Signer Belletti; the first-named gentleman this time sustaining the part of Elijah, as he had always done at the festivals of the choirs until last year at Gloucester, the circumstances of which need no repeating here, having engaged sufficient attention at the time. Mr. H. Blagrove leads the band in the morning, M. Sainton in the evening performances. Nearly the whole of the principal players of M. Costa's orchestra arc engaged, but amongst the violoncellos we miss the familiar name of W. Lovell Phillips, unhappily numbered with the dead since the last meeting of the choir, and also of Signor Cioffi, first of trombone players, likewise taken from us this year.

To-day there has been a long rehearsal at the cathedral, and this evening another rehearsal at the College Hall. From what we hear there seems every prospect of a good festival, by far the larger proportion of seats for both morning and evening performances being secured. The weather is charming, a trifle cold perhaps, but bright, clear, and promising a continuation.

Tuesday.

This morning, at half-past eight, divine service was held in the choir of the cathedral, the Rev. R. Cattley, minor canon, intoning, the Rev. Canon Lewis, reading the first, and the Hon. and Rev. the Dean (Dr. Peel), fhe_ second lesson,—the chant being the Rev. F. Havergall's festival chant. The choristers and lay clerks of the three choirs were all present, and rendered the service, Croft in A, and Goss's anthem, " Praise the Lord O my soul," with steadiness and efficiency, Mr. G. Townshend Smith, of Hereford, presiding at the organ. An excellent and appropriate discourse was preached by the Rev. George Herbert Pepys (son of the bishop), from a text taken from the 3rd chapter of the book of Proverbs, 9th and 10th verses—"Honour the Lord with thy substance, and with the first-fruits of all thine increase ; so shall thy barns be filled with plenty, and thy presses shall burst out with new wine." Although the congregation was very large, the collection was but little more than £14, which does not say much for the liberality of the Worcester townspeople, whom we take to have formed the staple of those present. True it is that the Mayor and Corporation, who came in state, reserved their contributions for the oratorio performance, which was to take place later in the day, when no doubt the charitable feelings of the corporate body, and many others, would be stimulated by a bounteous champagne breakfast, with which the Mayor regaled his friends at the Guildhall, a building which has just undergone thorough repair and redecoration, the festivities of to-day serving as a sort of housewarming to the edifice. We remarked that the choir or east window of the cathedral has been partially restored, six out the ten stained glass lights having been recently filled in by Hardman of

Birmingham. The purport is to depict certaiu events in the life of our Saviour, but what they are intended to represent must be taken entirely on trust, as from the choir it is quite impossible to decipher their meaning. The colours, moreover, are poor and cold, lacking that rich and lustrous effect which the old artists were wont to produce in stained glass. And while we arc on this subject, it may not be out of place to mention that upon visiting Gloucester cathedral last Sunday, we found three new and very fine specimens of stained glass windows had been inserted in the south aisle, and it is in contemplation to complete the series by filling in the whole of* the lights on the south or college green side in a similar manner. When this is finished, the nave of Gloucester may challenge comparison with any cathedral, the very large and no less effective west window, erected to the memory of the late Bishop Monk greatly enhancing the appearance of the building.

At 12 o'clock the musical performances were inaugurated by the first part of Haydn's Creation, in which the most marked feature was the singing of Mad. Clara Novello, whose voice told wonderfully in "The Marvellous Work," and "With Verdure clad." The choruses went well, " The heavens are telling," bringing the selection to a fine close. Mr. AVeiss is so thoroughly at home in this as in all other of our standard works, that we need do no more than remark that his delivery of "Rolling in foaming billows" was characterised by all those good qualities which have raised and retained him in his deserved position. After a few minutes' pause, Mendelssohn's oratorio of St. Paul commenced, and allowing half-an-hour's interval between the first and second part, did not conclude until just 4 o'clock. Our readers iire sufficiently well acquainted with this masterpiece to render all criticism oil its intrinsic and manifold beauties quite superfluous. Suffice it to say then, that the general execution is entitled to commendation—principals, band, and chorus alike exerting themselves to do justice to the great work, which twenty-four years ago was produced with such success at the Dusseldorf gathering, under the direction of the great composer himself. Mesdames Clara Novello and Rudersdorff divided the soprano music; Mad. Sainton-Dolby, assisted by Miss M. Wells, the contralto; Mr. Sims Reeves alone sustaining the tenor part, and Signor Belletti the bass, supported by Mr. Briggs, one of the lay clerks of the cathedral. The choruses producing the greatest effect were " Stone him to death," "Rise up, arise," and " 0 great is the depth," marred, however, by people who could not wait for their refreshment until the end of the first part, but persisted in getting up and disturbing everybody else. The chorales, forming so distinctive a feature in this oratorio, were also given with great smoothness and attention. The one " To thee O Lord," performed at the funeral of the late Duke of Wellington, and "Sleepers, wake, a voice is calling," especially calling forth praise. The final chorus "Not onlyun'x> atcS" was altogether lost for the same reason we'ha.v« olrove alluded to. Perhaps four hours is. rather tnokna tor a sitting, especially when we consider there are yet three full mornings and three long evening concerts to come. The attendance was larger by some 300 than is usual on the Tuesday morning (a good argument for continuing the same order at future meetings)—about 1,350 persons being present. An alteration has been made since the last festival, by taking away the western gallery and substituting reserved scats ; another change too has been made, the prices of the aisles—formerly 5s. but last time 3s. 6d.—are now 2s. 6d.; and the result is that they were quite full, instead of, as in days gone by, being but a third occupied. One singular fact has come to our knowledge (and that from an undoubtedly authentic source) which it will not be out of place to mention here. The elegantly dressed ladies would perhaps feel offended if they were told that their devotion to fashion sadly interfered with the charitable objects of the music meeting, and could not think it possible that their ^skirts amplified by crinolines (which large as they are in the metropolis become positively gigantic in the provinces), should be enemies to the festival to the extent of more than £200—but so it is, for this time there are 230 seats fewer than last, to allow room for the present outrageous height, or rather width, of fashion. Readers of a calculating turn of mind who feel inclined to multiply this number by 15 shillings, the price of the reserved seats, can arive at a correct result. But this is not all, we have spoken only of the seats in the cathedral; at the College Hall, where the copcerts are held, the 'number of places is diminished by 119— which according to Cocker (the most often quoted but least known of arithmeticians) will at 10s. 6d. each give, or rather not give, £'(13. 9s.—so that altogether some £235 are sacrificed, because the ladies will "make broad the borders of their garments." We give this merely as a curious statistical fact, not for a moment supposing that any of our fair readers will diminish their circumference in consequence.

Wednesday.

"Music hath charms," not only "to soothe the savage breast," but also to extract money from the civilised pocket, and efficacious as pulpits and preachers may be upon some occasions, orchestras and singers are yet more powerful upon others. Excellent as was the advocacy o{ the reverend gentleman who officiated yeBterday morning, and urged the claims of charity, less than £15 was collected at the doors, as we have already stated; but after Haydn's Creation and Mendelssohn's St. Paul, the plates were replenished by donations amounting to upwards of £355, a sum more than double that usually subscribed the first day, and a splendid beginning for the Widows' and Orphans' fund. This has put the stewards and everybody connected with the festival in high spirits, and as the weather is magnificent and the plans for morning and evening performances present the gratifying sight of nearly the whole of the reserved and numbered seats marked off as let, all of them for Friday, the Messiah, and always the great day, and all for Thursday night, the last concert, the pecuniary success of the meeting ought to be certain. Should the anticipated attendance be fulfilled, there is a right to expect a surplus for the charity, or at any rate no deficit, for if there is any call upon the stewards after filling cathedral and concert hall every day, it must be a sign of radical mismanagement somewhere, as after all it amounts to a mere matter of calculation. So many seats at so much will produce a given sum, the engagements and other expenses will cost so much, and allowing a margin for casualties, the expenditure should not be allowed to exceed the estimated receipts. The attendance last night at the College Hall was the largest we remember for a first concert, 530 being present. The body of the room will hold about 600 persons, and the gallery some 300 more, but for the fact we mentioned yesterday, a thousand people might be accommodated. Perhaps when the present fashion is discarded (it cannot last for ever, that's one consolation), and ladies return to the straight and limp costume of their grandmammas, "when George the Third was king," and the festival of 18—, well, we cannot fix the date exactly,—has let every seat for morning and evening, the "consummation devoutly to be wished" may be accomplished.

The concert of Tuesday was a decided improvement in more rcsptet<i than one on those generally given at these meetings. In the first pl»t.o the length was not excessive, as it commenced at eight and would have lCT«4n«ted at eleven, but for the encores in the second part. So much for the quantity. Next as to the quality, likewise praiseworthy, including, as it did, two works each equally great in its way, and sufficient to Btamp the concert with the individuality of good music. We allude to Dr. Sterndale Bennett's May Queen, heard for the first time at Worcester, and now fairly making the round of the provinces (it only remains for Hereford to follow the example of Gloucester the "fayre," and this the "faithfulle" city, to complete the circle of the choirs), and Beethoven's Symphony in D, No. 2, which occupied the post of honour, the opening of the second part. Mad. Clara Novcllo, as the heroine, Mr. Sims Reeves as the lover, Mr. Weiss, as Robin Hood, and Miss M. Wells as the Queen, one and all acquitted themselves to perfection; the chorus, too, was unusually good, and but for the orchestral accompaniment being far too loud throughout the entire execution, would have been entitled to unqualified praise. Of course for this the conductor is responsible, and it really was a pity to hear the voices of the principals all but drowned by the loudness of the instruments. We have so frequently eulogised this work that any further laudation would be superfluous, but it is sufficient to say that the intrinsic goodness of the music is such that the pleasure of the hearer is increased at each performance, a fact which never occurs with music of an inferior character, however attractive and catehing it may have been at first hearing. The audience, although cold during its progress, applauded loudly at the close of the May Queen, which j

was succeeded by Mad. Rudersdorff, who gave an energetic reading of Meyerbeer's "Va, dit-elle." Mr. Monteni Smith followed in a ballad of Hatton's, from the Spanish, "The maid I love hath many a grace." Macfarren's charming ballad from Don Quixote, " Ah, why do we love?" gave us an opportunity we have not had frequently of late — the hearing Mad. Weiss, who sang with unaffected taste and expression. The accompanist, however, did his best (or his worst) to mar her efforts, by dragging the time unpleasantly, and it would be an advantage to the gentleman in question if he could attend one of the Monday Popular Concerts, and take a lesson from the manner in which pianoforte accompaniments are played there. Mr. R. S. Pratten received an immense welcome upon appearing to play his solo, "Maria Stuart," on his newly-perfected flute, and by the extraordinary powers of execution he displayed, commanded a perfect hurricane of applause at the conclusion.

The performance of the Beethoven Symphony was on the whole satisfactory; and although in parts lacking that nice discrimination of light and shade, without which a symphony is nothing. Mozart's "Questi Awenturieri," sung by Signor Belletti, seemed to fill flatly upon the audience, who were, however, roused to enthusiasm by Knight's old ballad, "She wore a wreath of roses," given by Mad. Rudersdorff, with a pathos amounting almost to exaggeration, especially in the last verse. It had its effect, however, for a tremendous encore ensued, when the lady returned to the platform, seated herself at the piano, and treated her auditors with one of those Spanish songs (" Cola sera") with which Mad. Viardot Garcia has so frequently indulged the public. We have never heard the unaccompanied quartett from Dinorah go better than it did last night, being sung to absolute perfection by Mesdames

Weiss and Sainton-Dolby, and Messrs. M. Smith and Weiss. The "Shadow Song" from the same opera, has been so frequently sung by Mile. Parepa, that we need say no more than that the Worcestrians insisted upon its repetition, with which demand the fair singer immediately complied. The remaining encore ;was to Mad. Sainton-Dolby, for her expressive rendering of Virginia Gabriel's ballad, "The Skipper and his Boy," the last verse being repeated. Two duets, "E il sol dell' anima" (Verdi's Rigoktto), by Mad. Clara Novello and Mr. Sims Reeves, and "Quanti amore" (Donizetti's £/ut> d'Amore), by Mile. Parepa and Signor Belletti, and Mozart's quintett, "Sento, oh dio," completed the programme of a concert which seemed to give perfect satisfaction to the large number ot persons assembled.

The College Hall, where these concerts are held, forms the south side of" the cloisters, which connect it with the cathedral. It is by no means a comfortable-looking room, the coloured wash with which the walls are covered, and the dilapidated condition ot the stone columns detracting from its appearance. The hare roof, open timber work of no ornate character, also adds to the effect we mention. It has, however, two very great merits, which m this age of defective ventilation and faulty principles of acoustic construction, must not be overlooked. The height of the building, and its tall windows with their lofty openings, secure an amount of circulation of air which we may seek in vain in any ot our London concert-rooms. Indeed, last night the fault was the other way, fur the cold was so excessive that the opening of the windows might well have been dispensed with, ladies gathering their opera cloaks round them, and looking as if they would have liked to put their feet to the fire. For sound, too, it is excellent, and perhaps had the conductor and his band known how thoroughly their sweet strains travelled, and how the softest note may bo easily heard in every part, they might not have fallen into the error we have already alluded to. The building in olden times served as a refectory, and is used ordinarily as the College school; and as the pupils must necessarily have a holiday while the room is occupied for the purposes of the meeting, "we ;have no doubt that these young gentlemen look with great respect upon the Worcester festivals, which would of course be increased if they were held every year instead of triennially.

As the cathedral is under repair, the Dean and Chapter having agreed to expend some £20,000 on the work of restoration, masons are busily engaged both inside and outside the edifice, and in some parts to the great inconvenience of the occupants of the orchestra

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