had this prophecy dropt from the pen of the great writer, than music, really of French origin and character, came into the world, possessed of a constitution which ensured it a long life. cause. (To be continued.) AN UNKNOWN OPERA BY DONIZETTI. THE following are particulars relative to the recently-discovered manuOne day, as Donizetti was walking along the script opera of Rita. Boulevard des Italiens, depressed and sad, he was accosted by his friend, M. Gustave Vaez (author of the libretto of La Favorite). "I die with ennui," he exclaimed; "pray suggest something to occupy A comic subject was agreed upon; my mind, even if it be but one act." two days after, the first act was brought by the author to the composer, who soon accomplished his task; to be brief, within the week the opera (Rita) was finished. It was accepted with eagerness by the director of the Opera Comique, M. Crosnier, but never produced, for the following M. Auber, at that time the presiding deity of the Opera Comique, had been vainly solicited to have his work ready at the period named, but replied that it was impossible, and chose the month of March following for its performance. In this dilemma, M. Crosnier addressed himself to Donizetti, and an agreement was duly drawn up between them. M. Auber, who was in ignorance of this agreement, wrote a few days afterwards to the manager, retracting his first decision, and fixing November as the precise period he wished his opera to Great was M. Crosnier's embarrassment; but by employing appear. a little tact, he hoped to extricate himself. Donizetti, who did not at all understand theatrical diplomacy, was at first much puzzled by the manager's preliminary eloquence, but a light flowing into his mind, he divined the real state of the case, and coming at once to the point, said, "Oh, now I see it is the engagement with me that is the difficulty in question; I am not in the habit of using a magisterial order to enforce a performance of my music," and taking up the paper he tore it in pieces. Feeling, however, much hurt, he refused to part with the Unfortunately for M. Crosnier, Auber within a few days again altered his mind, and gave notice that he should adhere to his original arrangement of producing his opera in March. Meantime the management of the Opera Comique devolved on M. Basset, and the latter, The illustrious comfinding an entry of the piece in the books of the theatre, proposed to M. Gustave Vaez to put it at once into rehearsal. there was positive evidence that the music had been composed after the receipt of the words, and expressly for the French libretto. MUSICAL PITCH. (To the Editor of the Athenæum.) LAST year, when the Pitch question was under the consideration of our English Committee, I ventured to call attention, by a letter published in the Journal of the Society of Arts, to the manner in which the finest ear may be deceived as to a particular tone, and to the fact, that notes identically the same may sound acuter or graver, owing to the quality of the voice or instrument transmitting them, or to the manner in which they are framed or set off by the composer.-A signal illustration of this came under my notice the other evening at Baden. It will be remembered that as wisely moderate. When M. Berlioz was directing the Carlsthe Carlsruhe pitch was distinctly adverted to in the French report ruhe orchestra in the chorus and "Dance of Sylphs" from his and accomplished professors living :-one, too, whose ear, by his Faust, I chanced to be seated beside one of the most intelligent "That is in E flat," said he.—“No,” I replied, occupation, must be rendered peculiarly sensitive to differences of tone, and timbre. "it is in D;" mentioning in support of my correction the fact of my having adapted English words to this chorus some years since, which made me able to speak to the point with some certainty. "Then it is transposed," was the reply, "for the pitch here is higher than it was in Paris." I was sure that no transposition would be allowed in his own music by one so exquisite in his researches after sonority as M. Berlioz. But my neighbour was convinced that he was hearing E flat for D, and B flat for A; counterassurances went for nothing-nor could he be satisfied as to the real state of the case, save by reference to the fountain-head, D after all. It may be the extreme brilliancy of the instrumental which proved that his ear had been deceived, and that the key was combinations of M. Berlioz which caused the mystification. In a more sober chorus by Gluck, given at the same concert, no such acute impression could possibly be received. The incident seems so instructive a comment on certain peculiarities influencing poser was already attacked by the cruel disease of the brain which, musical evidence and testimony, and to contain so strong a sugalas! paralysed his fine intellect, and his brother-chief of the military gestion as to the impossibility and undesirableness of uniformity, that I offer it as a postscript to former remarks, which were not bands of the Sultan, at Constantinople-did not judge it right, while the poor maestro writhed in his bed of agony in a Maison de Sante, at Issy, to deliver over the fruits of that intellect to the anatomical discus-flung out from any wanton desire for paradox, but as the result of score. Donizetti was taken to Bergamo, his native town, sions of the critic. comparison and experience. Foreign. H. F. CHORLEY. HERR RICHARD Wagner AND THE BALLET.-It is stated that, in order to adapt his great work to the Grand Opera of Paris, Herr Wagner has consented to the interpolation of a ballet, for which he has written the music. MUSIC IN FRANCE.-The French are "stepping out" in many musical paths formerly untrodden by them. The Orpheonistes The other day a traveller showed us only a few weeks since how remarkable has been the advance made by them in part-singing. loitering on the way betwixt Strasbourg and Paris might have fallen in with choral meetings of men, accompanied by wind instruments, 200, 250, and 500 executants strong, singing and playing their best in aid of the persecuted Syrian Christians,-at Metz, Luneville, and Nancy. In the last-named clean and courtly town (which has a sort of Dresden air, without the lifelessness and dejection of the Saxon capital) the vesper service in the cathedral, chaunted by a large portion of the congregation, in antiphony with the priests at the altar, is impressive;-the body of voices clear in tone and well in tune. Nothing so good was to be heard in Paris, when we first knew it, on high days and holidays. Lastly, as to accompaniments, France, in its military bands, is beginning presence to tread close on the heels of Prussia and Austria. The of a marshal in the great hotel at Strasbourg gave occasion for a serenade of "harmony music," not equal, of course, to that produced by our late guests, the band of Les Guides, but rich in sound, crisp in time,-the players playing with that real manly expression which overlooks-but, also, which overdoes--no point where taste can show itself. This was expressly to be felt in the delicious introduction to M. Auber's overture to La Sirène.Musical Correspondent of the Athenæum. PARIS. There is some talk of erecting a new place of amusement, and the project, it is said, has already obtained the ministerial consent. The building in question is to be a theatre of grandiose proportions, under the name of the "Théâtre Anglo-Française ; thus called because English capitalists would contribute towards the cost of erection, and, besides the other kinds of dramatic entertainments included in its patent, there would be the performances of a company of English pantomimists, who would import the celebrated choreographic fairy pieces so popular on the English side of the Straits of Dover. The new theatre would be situated at the corner of the Faubourg Saint Denis and the Boulevard Bonne Nouvelle, and built on a circular plan, the better to ensure facility of ingress and egress. A magnificent façade, thirty-one metres high, would decorate the main body of the building, to which would be attached two pavilions; that on the right would be in a line with the Boulevard, and that on the left run down the Faubourg Saint Denis. A lane would separate it from the adjacent houses. We are promised all the improvements required in the construction of new theatres. The façade, the audience part of the house, and the saloons, would be arranged in an entirely novel manner. There would be a pit, an "entre-sol," and four tiers of boxes and galleries. There would be a permanent exhibition of contemporary pictures in one of the saloons. Comedy, vaudeville, pantomime, and grand choreographic fairy pieces would make up the programmes. Historical dramas, taken from French history more especially, might be admitted; a system of literary competition might, too, be established, and prizes awarded, even to authors whose productions might have been rejected, but who should have been honourably mentioned by the jury. The originator of this project is M. Ruiz de Fye. (Believe it who will!) MUSIC IN GERMANY.-Every inquiry and research made in Germany yields, for the present, only one result so far as music is concerned. Not a name of the slenderest promise in composition is to be heard of. Even the open air bands (delight of enthusiastic English travellers unused to home music in the open air) which fifteen years ago were always giving out something new (for better for worse), must now, for overtures, recur to the weary platitudes of Reissiger and Lindpaintner, while a good new waltz, or polka, or polonaise, or mazurka, is no more to be heard. The spell of Strauss and Lanner, magicians of dance-music, has died with them. Most of all (we are assured) is the decay of the art to be felt in Vienna, in the management of whose splendid and subsidised opera-house there has been as much malversation of Imperial money as in other more important branches of Austrian finance. The German town, north or south, in which the greatest variety of operatic music may possibly now be heard, is Frankfort. There only, during many years past, has the repertory of the theatre included Cherubini's magnificent, though difficult opera of Medea. Cherubini is elsewhere only known in opera, throughout Europe, as having written Les Deux Journées. At Frankfort, for a Cherubini centenary, to be held this very day, his Faniska has been announced; an opera rich in idea and science, though these were somewhat encumbered by the perverse nature of the rugged Italian, to whose career, as a predominant composer, tact alone was wanting. There may come a Cherubini revival as well as a Gluck revival, though the former may possibly involve the neces sity of a re-consideration, which the latter does not. Herr Silcher, one of the pleasant Suabians (and how pleasant the Suabians are as poets, singers, musicians, and comrades, from Herr Uhland downwards, every one conversant with Germany must know), is gone. His collections of national tunes should keep his name alive among all who love national music.-Musical Correspondent of the Athenæum. HORACE MAYHEW has returned from a tour in the United States and Canada. We hazard the inference that he will give the public, in light and pleasant form, some record of his travelling experiences.-Illustrated News. Provincial. LEEDS MUSICAL FESTIVAL, 1861.-A meeting of the general committee was held on Monday, when Mr. H. Ludolf, Mr. J. W. Hill, and Mr. Fred. Spark were added to the list previously ITALIAN OPERA AT MANCHESTER. After a lengthy interregnum, the Lyric Drama once more makes its appearance amongst us, in a series of Italian operas. Four out of the five works constituting the series are of the modern school; the fifth is the immortal Don Giovanni. The series commenced on Monday with Il Trovatore. The cast was as follows:-Leonora, Mlle. Titiens; Azucena, Mlle Lemaire; Manrico, Signor Giuglini; the Count, Signor Valsovani; Ferrando, Signor Vialetti. The Leonara of Mlle. Titiens is a performance of extraordinary excellence. From her first appearance to the death scene, she sustained the part with unflagging energy, singing the music only as a great artiste can sing it, and rising in the fourth act. Signor Giuglini's Manrico is wanting in power. In the delineation of the gentler emotions -in the "Ah! si ben mio;" the "Ah, che la morte;" and the duet, "Si, la stanchezza," he is unrivalled in delicacy and refined expression. The Ferrando of Signor Vialetti merits considerable praise. Signor Valsovani in the character of the Count was totally inefficient. La Favorita was given on Tuesday, with Mad. Borghi Mamo, Signori Giuglini and Vialetti, as Leonora, Fernando, and Baldassare. Mad. Borghi-Mamo comes before us for the first time, and therefore claims a special recognition. Her voice is a mezzosoprano of considerable range, delicious when subdued, or, using the language of Italian art, as sotto voce. Her style is good, her acting natural and graceful, rising easily into the impassioned. Her singing of the air, "Oh! mio Fernando," exhibited large powers of expression and great vocal skill. The most satisfactory part of the opera was the fourth act. their greatest triumphs. acclamations. Both she and Signor Giuglini here won The "E fia vero?" was encored with The performance of Don Giovanni on Wednesday was of a mixed character. Mlle. Titiens as Donna Anna was everything that could be desired, and we do not hesitate to express our conviction that the character was never more efficiently represented, nor Mozart's music more conscientiously nor more faithfully rendered. The fine scene in the first act, the great scene with Don Ottavio, containing the difficult air, "Or sai chi l'onore," and the "Non mi dir" of the second act, were all in the highest style of lyric art. Scarcely inferior was the Zerlina of Mad. BorghiMamo; the "Batti batti" being re-demanded with enthusiasm, and the "Vedrai carino" was faultless. The "Della sua pace and the "Il moi tesoro" of Signor Giuglini, pieces exactly suited to the character of his voice and his refined style, were received with great enthusiasm. Signor Gassier's Don Giovanni, considering that he is a bass rather than a baritone, was not without merit; Signor Vialetti's Leporello was better; and Signor Mercuriali made a passable Masetto. The orchestral accompaniments, considering their strength, were on the whole satisfactory. The fourth opera of the season, Lucrezia Borgia, was brought out on Thursday night, with the following caste :-Lucrezia, Mile. Titiens; Orsini, Mille. Lemaire; Don Alfonso, Signor Vialetti; Gubetta, Signor Mercuriali; and Gennaro, Signor Sirchia. This was another triumph for Mlle. Titiens, whose acting and singing were both of that high character which entitles her to rank as one of the very first of lyric artistes. One of her most striking characteristics is the perfect equality she maintains throughout every performance. Nothing is sacrificed or slurred over; while she possesses the rare qualification of keeping a brilliant and facile vocalisation in entire subjection to expression. This is remarkably exemplified in the part of Lucrezia, in which numberless graces of vocal skill are thrown off in profusion, and yet seem to belong naturally to the feeling expressed; being the reverse of what is often heard from skilful vocalists, viz: a complete sacrifice of expression to vocal grace, which thus ornament nothing. The perfect equality of Mlle. Titiens' performance prevents us from making any special references to parts, all being equally excellent. The Orsini of Mlle. Lemaire was creditable, Signor Vialetti's Duke was excellent, while Signor Mercuriali's performance was careful, and, upon the whole, praiseworthy. Some parts of Signor Sorchia's Gennaro indicated considerable talent. As it is, we can only augur good things from him. To the opera was added the last act of La Favorita, for Mad. Borghi-Mamo and Signor Giuglini. (Abridged from the Manchester Weekly Times.) KENSINGTON PARK CHURCH.-Travellers from the west and north-west of England, upon their approach to London by the Great Western line of railway must have observed a very beautiful church standing out in the fields adjoining the confines of the line. This splendid fabric, founded by the Rev. Dr. Walker, rector of St. Columb Major, Cornwall, and which for seven years, owing to legal difficulties, has remained in its present unfinished condition, is forthwith to be completed. Up to the present time it is said to have cost upwards of twenty thousand pounds. The elegance and beauty of this miniature cathedral in all its details has only to be seen to be greatly admired. The Rev. John Light, M.A., of Ashton-under-Lyne, has been presented to the living. A daily cathedral service, morning and evening, is to be performed by a very efficient staff of singing men and boys, and Dr. James Pech, of New College, Oxford, and Mr. William Sudlow, will be the organists and choir masters. PRESENTATION TO THE REV. DR. MILLER, VICAR OF BELFAST. We had yesterday the pleasure of inspecting, at the warehouse of Mrs. Hart, Castle Place, a grand drawing-room pianoforte of seven octaves, by the presentation of which to the Rev. Dr. Miller the members of the congregation of St. Anne's Church, and other friends, intend to show their esteem for that respected clergyman. The instrument was manufactured specially by Messrs. J. Kirkman and Son, London, and fully sustains the high character borne by the firm in the musical world. The tone is remarkably pure, rich, and powerful. All the latest improvements have been attended to in the construction, and the style of ornament adopted is exceedingly chaste and elegant. The initial letter of Dr. Miller's name has been introduced in the fret-work with excellent effect, and altogether the piano, in appearance and power, could scarcely be excelled. A silver plate in front of the stands bears an inscription to the following effect :-" Presented to the Rev. Thomas Fitzwilliam Miller, D.D., Vicar of Belfast, by members of the congregation of St. Anne's Church, and other friends, as a token of their regard and esteem-1860." The cost of the instrument was 130 guineas, and the subscriptions to meet it were contributed some months ago, but the presentation was delayed till this time, as the instrument could not sooner be completed by the makers.-Belfast Paper. MISS KATE RANOE.-The following extract from the Plymouth Mail will no doubt be read with interest by many of our subscribers: At the theatre the other evening, Miss Kate Ranoe, the adopted daughter of the late M. Jullien and Mad. Jullien, made her debut as the Minstrel Graceful, in the extravaganza of the Fair One with the Golden Locks. She is a very pleasing young actress, and has evidently received a highly finished musical education. Her acting was very spirited, but graceful and natural, and entirely free of all buskin affectation. Her easy walk across the boards would be worthy the notice of older actresses. Her singing is that of an accomplished artiste, and the taste and knowledge she displays makes much amends for the present state of her voice, which, it is to be regretted, is rather defective. What makes the matter the more to be deplored, is that it is stated that her natural very fine voice has been damaged by excess of practice. With this drawback, her 'Power of Love' was given with great sweetness. With her natural attractions, fine acting, and influential introductions to the musical world, a high position for her among the favourites of the public is next to certain." In another Plymouth paper, the Western Morning News, we find the following:-" A young lady, Miss Kate Ranoe, of no mean pretensions to future theatrical celebrity, has made her debut at the theatre in the part of Graceful, in the amusing burlesque by Planché, the Fair One with the Golden Locks. Miss Ranoe's acting betrayed more knowledge of the stage than was to be expected from so young a debutante. Both her acting and her singing were truly artistic; she had, however, to contend with a break-up in her voice, evidently brought on by overworking of the organ; still she contrived to win golden opinions from the audience by her intonation and pure style of singing. She had evidently been well taught, and her acting was natural, very engaging, without effort, and extremely effective." GRISI AND MARIO IN DUBLIN. - Flotow's Marta had the effect of crowding the Theatre Royal last evening with a brilliant assemblage of rank and fashion. A German by birth, the composer was not insensible to the charms of Irish melody, when he introduced into one of his operas the Last Rose of Summer," under an Italian garb. Who could hear the matchless Grisi's rendering of it last evening, and not be moved? It developed all the sweetness and sustaining power of her voice. As she warbled with true feeling note after note, she seemed to bring her listeners with her into an Elysium of delight. The tenor part of Lionello was sustained by Signor Mario, and few characters, musically speaking, are better suited to test his powers. The exquisite aria, "M'apari," now so familiar to the public ear, seems a most exacting song on the great tenor, from the fact of its being difficult of execution, with a certainty of having to repeat it. Signor Mario's rendering of it was fully equal to public anticipation. It brought forth the rich and finer qualities of his voice, and he successfully endeavoured to win the deserved encore which was given. A great feature in the opera was the dramatic representation and admirable vocalism of Mad. Viardot Garcia in the rôle of Nancy. It is difficult to say whether her dramatic or vocal genius is the greater, for she is unrivalled as an artiste in her peculiar sphere. Signor Graziani gave the popular beer song, and had to repeat it. The spinning-wheel quartet was warmly encored. At the close Mesdames Grisi and Garcia were called before the curtain, and retired amidst loud cheering, laden with offerings of the choicest flowers.-Irish Times, Sept. 15. EFFECT OF MUSIC ON THE SICK.-The effect of music upon the sick has been scarcely at all noticed. In fact, its expensive Messrs. BOOSEY & SONS have published a new Series of Shilling Books, intended to embrace every description of Standard and Popular Music for the Voice and Pianoforte, and adapted for every variety of taste. Each Book contains from forty to fifty pages of Music, beautifully printed on fine paper (demy 4to.) in an illustrated Cover, price One Shilling. Prospectuses, with specimen page of paper and type, are now ready, and will be sent post free by the publishers. Boosey & Sons, Holles Street. ness, as it is now, makes any general application of it out of the BOOSEY'S MUSICAL CABINET.-Under this title question. I will only remark here, that wind instruments, including the human voice, and stringed instruments, capable of continuous sound, have generally a beneficial effect - while the pianoforte, with such instruments as have no continuity of sound, has just the reverse. The finest pianoforte playing will damage the sick, while an air like "Home, Sweet Home," or "Assisa a piè d'un salice," on the most ordinary grinding organ, will sensibly soothe them-and this quite independent of association. -Florence Nightingale. 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. "Of all the treatises on the cultivation of the voice that have appeared for many years, it is the most sensible, concise, and useful."-Daily News. "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. "UNDINE." JULES BENEDICT's new lyrical legend, the words by JOHN OXENFORD, composed expressly for the Norwich Festival, just published, price, complete, £1. Is., also in detached pieces, and transposed editions of the Songs sung by Mad. Clara Novello, Miss Palmer, and Mr. Sims Reeves; Pianoforte solo arrangements of the Overture and March, by the Composer; and favourite Airs, arranged by Callcott.-Lists may be had of the Publishers, Leader & Cock, 63 New Bond Street. 66% IR BOOSEY'S MUSICAL CABINET — MENDELSSOHN-No. 1 contains Twenty Favourite Songs by Mendelssohn, with English Words and Pianoforte Accompaniments. Price One Shilling. Boosey & Sons, Holles Street. CHRISTY'S SONGS-No. 4 contains Twenty of the most Popular Christy's Min strels' Songs, with Choruses and Pianoforte Accompaniments. Price One Shilling. Boosey & Sons, Holles Street. BOOSEY'S MUSICAL CABINET-WALTZES— No. 5 contains Fifty Popular Waltzes by Laurent, Tinney, Gungé, Larnotte, Mellon, &c. Price One Shilling. Boosey & Sons, Holles Street. BOOSEY'S MUSICAL CABINET QUADRILLES. No. 6 contains Twelve popular Sets of Quadrilles (complete), by D'Albert, Laurent, Tinney, Lamotte, Nordmann, &c. Price Is. Boosey & Sons, Holles Street. BOOSEY'S MUSICAL CABINET.-POLKAS and GALOPS. No. 7 contains Forty Polkas and Ten Galops (all with their trios), by Labitsky, Lanner, Laurent, Ettling, Guugé, Strauss, Nordmann, &c. Price 1s. Boosey & Sons, Holles Street. OPERATIC Buckley Serenaders, and all their Copyright American Melodies, are just pubBuckley (from 585 Broadway. New York. U.S.) will make their First Appearance in London at the St. James's Hall, Piccadilly, early in October. N.B. Full particulars will be duly announced. lished by Messrs. Hopwood & Creed, 42 New Bond Street, London, W. The Original and BOOSEY'S MUSICAL CABINET. MUSIC.-No. 8 contains Twenty-five Gems from Verdi's Operas. Arranged for the Pianoforte by Nordmann. Price 1s. Boosey & Sons, Holles Street. SIXTHOUSAND New Popular and Standard New Popular and Standard crimson cloth, gilt edges, containing Fifty Waltzes, Forty Pulkas, Ten THE BALL-ROOM MUSIC-BOOK. Price 4s. superbly Galops, Twelve Quadrilles (complete), Two Schottisches, Two Varsovianas. By all the most popular Composers of the day. Forming the most attractive and cheapest collection of Dance-music ever published. Boosey & Sons, Holles Street. Messrs. ROBERT COCKS & Co., and supplied gratis and postage free to applicants. NEW EMAN, PiC 14EW SONGS by EMANUEL AGUILAR.—“SYM and "IN A WOOD ON A WINDY DAY," poetry by ACTON BELL, dedicated to Miss GRACE LINDO, price 3s., are now published by Duncan Davison & Co., 244 Regent Street, W. "These songs, written by the younger sisters of Charlotte Brontë (Currer Bell, author of Jane Eyre,') have been clothed by Mr. Aguilar in beautiful and expressive music. Sempathy' is full of tranquil tenderness; In a Wood on a Windy Day' BOOSEY'S 100 VIOLIN DANCES, 1s. (First Series); 100 Dances (Second Series), 1s.; 100 Ballads, Is.; 100 Operatic Airs, 1s.; 100 Reels and Country Dances, 1s.; 100 Waltzes (by Strauss, Lanner, and Labitzky), 1s.; 10 Standard Overtures, 1s.; Boosey's 23 Complete Operas for Violin, Is. each (includ ing Dinorah, Satanella, Bohemian Girl, Maritani, Il Trovatore, La Traviata, &c.). Boosey's editions must be ordered. Holles Street. paints the agitated and exulting mood often engendered by the stormy aspects of BOSEY'S 100 DANCES for FLUTE, 1s.; 100 Ope nature the wind roaring among the branches and scattering the withered leaves, or the dashing of the billows on the sea-beach. Mr. Aguilar has heightened the effect of this last song by the picturesque character of his pianoforte accompaniment."-Daily News. "In a Wood on a Windy Day," was sung by Miss Grace Lindo with great success at Mr. Aguilar's Concert, Hanover Square Rooms. LOCH KATRINE WALTZ, on Scotch Airs, and KIL LARNEY WALTZ, on Irish Airs. By LAURENT. Both Illustrated. Price 3s. each. Boosey & Sons, Holles Street. ratic Airs, 100 Exercises and Studies by the great Masters, 1s. All arranged by R.'S. PRATTEN. Also 12 Complete Operas for the Flute, arranged by CLINTON, 18. each, including Il Trovatore, Sonnambula, Les Huguenots, &c. Boosey & Sons, Holles Street, Manufacturers of Pratten's Perfected Flutes. OOSEY'S 25 DUETS for TWO CORNETS-ACornet-à-Pistons, 1s.; Boosey's 100 Operatic Airs for Cornet-à-Pistons, Is. Boosey & Sons, Holles Street. MARGARETTA WALTZ, on Balfe's Celebrated Song. BOOSEY'S 100 CONCERTINA DANCES, 18.; 100 UHE'S ROBERT LE DIABLE, published this day, KREUTZER'S 40 STUDIES for VIOLIN, 1s. 6d.; Rode's 36 Caprices for Violin, 1s. 6d.; Fiorillo's Caprices for Violin, 1s. 6d.; De Beriot's 7 Airs, with Variations, for Violin, 1s.; Boosey's 100 Exercises and Studies by all the great Masters, for the Violin, Is.; Boosey's Violin Tutor, 24 pages, large size. Boosey & Son, Holles Street. IN N ENGLISH.-Dinorah, 12s.; Il Trovatore, 12s.; Satanella, 158.; La Traviata, 12s.; Don Juan, 188.; Figaro, 6s; Sonnambula, 12s. 6d.; Parma, 10s. 6d.; Lucrezia, 16s.; Iphigenia in Tauris, 8s.; Faust, 12s. 6d. ; Fidelio, 15s.; Der Freischutz, 12s. 6d.; Ernani, 15s.; Il Barbiere, 10s.; Zauberflote, 12s. 6d. These Operas are complete for Voice and Pianoforte, with English words and the original Foreign text, in handsome cloth volumes. Boosey's editions must be ordered. 28 Holles Street. Printed by GEORGE ANDREW SPOTTISWOODE, of No. 10 Little New Street, in the Parish of St. Bride, in the City of London, at No5 New-street Square, in the said Parish. Published by Jour BOOSEY, at the Office of BoosEY & SONS, 28 Holles Street.-Saturday, September 22, 1860. "THE WORTH OF ART APPEARS MOST EMINENT IN MUSIC, SINCE IT REQUIRES NO MATERIAL, NO SUBJECT-MATTER, WHOSE EFFECT MUST BE DEDUCTED: IT IS WHOLLY FORM AND POWER, AND IT RAISES AND ENNOBLES WHATEVER IT EXPRESSES”. Göthe SUBSCRIPTION-Stamped for Postage-20s. PER ANNUM - Payable in advance by Cash or Post-Office Order to BOOSEY & SONS, 28 Holles Street, Cavendish Square, London, W. VOL. 38-No. 39 V. SATURDAY, SEPTEMBER 29, 1860 B. Conducted by Mr. Wrigley, which consists of 30 Performers, and is composed of the "Little Men," who play Operatic and Popular Music, and sing favourite Airs and Choruses. Also a Vocalist, and Solo Instrumentalists. 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. ST; T. JAMES'S HALL.-Mlle. PAREPA, Mad. SAINTONDOLBY, Mr. GEORGE PERREN, and Mr. LEWIS THOMAS, with full Band Choirs, will perform the MESSIAH on Wednesday, October 3. Conductor, Dr. WYLDE. Tickets at popular prices, viz.-Area, 1s.; Balcony, 3s.; Stalls, 5s.; to be had of Mr. Austin, ticket office, St. James's Hall; Messrs. Cramer & Co., 201 Regent Street; Chappell & Co., 50 New Bond Street; and Keith, Prowse, & Co., 48 Cheapside. ¡ R. WALLWORTH begs to inform his pupils, friends, and the public that he has REMOVED to 81 PARK STREET, GROSVENOR SQUARE, W.-The Second Edition of his "ART OF SINGING" is just published, and may be had at his residence. R. GEORGE FORBES respectfully informs his Regent's Park, to 22 PORTSDOWN ROAD, MAIDA HILL, W. N ITALIAN GENTLEMAN, who is perfectly ΑΝ cognizant of Music in all its branches, particularly Singing and Composition, wishes to obtain PUPILS. Would not object to an Engagement in a large Music EstaAddress blishment, as Director or Reviser. Full references given if required. G. D. L., Post Office, Great Russell Street, Bloomsbury. VOLUNTEER BAND now forming in the 37th Middle sex (G. G. B.) Volunteer Rifles. Members will have the benefit of instruction from a Musical Professor of great experience as a Teacher of Military Musical Instruments. Any persons willing to join are requested to apply at Head Quarters, 35 Bernard Street, Russell Square. O OBOE PLAYERS.—Mr. WILLIAM HOWARD ment guaranteed. Must be really a good player.-Address to 37 George Street, Edinburgh. MANAGERS and ARTISTES visiting LIVERPOOL will find it advantageous to engage the services of LEE, NIGHTINGALE, & CO. UST PUBLISHED, RUDIMENTS of HARMONY (for many years connected with the Liverpool Times, Liverpool Mail, and Liverpool with Progressive Exercises. By G. A. MACFARREN, Price 78. 6d. Cramer, Beale, & Chappell, 201 Regent Street. 39 Albion Newspapers), PRINTERS, LITHOGRAPHERS, ADVERTISING AGENTS, and NEWSPAPER CORRESPONDENTS, ➡ Swift Court, 13 Castle Street, Liverpool. NEWSPAPER |