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"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"Gotht

SUBSCRIPTION—Stamped for Postage—20s. PER ANNUM Payable in advance by Cash or PosWffice Order to B00SEY & SONS, 28 Holies Street, Cavendish. Square, London, W.

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Secretary to the College ... , ... .

Dr. MARK Is open to Engagements either for
THE FIRST ORCHESTRA,
Consisting of 30, 40, or AO Performers, and conducted by Dr. Mark, is composed of the
Advanced Pupils or the Royal College of Music, and some of the " Little Men," who
perform Sacred, Classical, Operatic, and Popular Music. Also a Vocalist, Solo
Harpist, Solo Pianist, and Organist—or

THE SECOND ORCHESTRA,
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
et. Also a Vocalist, and Solo Instrumentalists.

Dr. Mark begs to inform young ladles and gentlemen who are preparing for the

rirofesston that he affords opportunities of Introducing them to the public by perforating;** 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 Pour, p.m. every day, Saturdays and Sundays excepted.

JUST PUBLISHED,
with Progressive Exercises. By G,
Beale, & Chappell, 201 Regent Street.

RUDIMENTS of HARMONY

A. Macfauxn, Price 7s. Cd.

ST. JAMES'S HALL.—Mile. Paeepa, Mad. Sainton-
Dolby, Mr. Georor Perren, and Mr. Lewis Thomas, with full Band Choirs,
will perform the MESSIAH on Wednesday, October 3. Conductor, Dr. Wyi.de.
Tickets at popular prices, vis.—Area, Is.; 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, Frowse, & Co., 48 Cheapside. ,

AD. CATHERINE HAYES begs to announce her

Return to England for the Season. All communications respecting Concerts and Oratorios to be addressed to 13 Westbourne Park, W.

THE ARION (Eight-Part Choir). — Conductor, Mr.
Alfred Gilbert The Memberi are informed that the next Meeting will

take place at 13 Berners Street, on Thursday, October 4th, at 8 o'clock precisely.—
Prospectuses of the Society may be obtained on application to the Conductor,

F. F. REILLY, Hon. Sec.

MR. WALLWORTH begs to inform his pupils, friends, and the public that he has REMOVED lo81 PARK STREET, GROSVENOR SQUARE, W—The Second Edition of his "Art or Singing" is Just published, and mny be had at his r ''

MR. GEORGE FORBES respectfully informs his
Friends and Pupils that he has REMOVED from 9 Bentinck Terrace,
Regent's Park, to 22 PORTSDOWN ROAD, MA 11) A HILL, W.

AN ITALIAN GENTLEMAN, who is perfectly 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 Establishment, as Director or Reviser. Full references given if required. Address G. D. L.j Post Office, Great Russell Street, Bloomsbury.

YOLUNTEER BAND now forming in the 37th Middlesex (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 T

TO OBOE PLAYERS Mr. WILLIAM HOWARD has an opening in his Orchestra for a FIRST OBOE s a five months' engagement guaranteed. Must be really a good player—Address to 37 George Street, Edinburgh.

MUSICAL EDUCATION.

AYOUNG GENTLEMAN, of good education and address, who can command a premium of £100, may be received for Five Years into a first-class Musical Instrument Establishment, of thirty years' standing, in the West of England. Ho would be instructed in the Organ, Pianoforte, and Singing, and a Salary would be given in the latter three years. Apply to S., care of Messrs. Boosey& Sons, 28 Holies Street, Cavendish Square, London.

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FERRARI'S WORK

on

THE VOICE AND SINGING,

w Prfco 8c.

MAY BE HAD AT IIIS RESIDENCE,

DEVONSHIRE LODGE, PORTLAND ROAD, PORTLAND PLACE, And at all the Principal Muilc 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 publication! of a similar kind."— AtJlcnawm,

"Here is a really sensible work."—Musical World.

"THE HARP OF WALES."

Sung by Mr. SIMS BEEVES,

, COMPOSED BY BBINLEY RICHARDS,

Price 2i. Gd.

11' The Harp of Wales' (sung for the first 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 Tcltgraph.

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

M 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 Newt.

"Mr. Richards did honour to his fatherland by Introducing a new song, 4 The Harp of Wales/ which is sure to become a favourite of the Cymrl, 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 8c Co., Depot General de la Malson Brandus, dc Paris; 24-1 Regent Street, corner of Little Argyll Street, where may be obtained— 14 THE SULIOTE WAR SONG," sung by Mr. Santley, price 8f. M 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 Brintcy Richards

SANTA LUCIA, by WILHELM GANZ. A brilliant and effective Transcription for the Piano of this Popular Air. Price 3s. London: Ashdown and Parry (successors to Wessel and Co.), 18 Hanover Square.

JOHN FIELD'S SIX CELEBRATED NOCTURNES,

9j edited by Franz Liszt. Price 2s. each. London: Ashdown and Parry (successors to Wessel 8c Co.), 18 Hanover 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.

"OOD NIGHT," by I. LIEBICH. Reichardt's

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

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

GOOD NIGHT," Reverie by Kuhe on Reichardt's popular Wiegenlied (Cradle Song), is now published for the Pianoforte, price 3s. by Duncan Davison and Co. 214 Regent Street, W.

NEW SONGS by BALFE. —"I LOVE YOU," sung by Mr. Sims Reeves with such immense success at Mr. Martin's (Exeter Hall), Mr. Lindsay Sloner's, and Miss Susannah Cole's Concerts (St. James's Hall), and at Mr. Balfe's benefit concert at the Royal Surrey Gardens before 10,000 persons, 3s.; as well as Balfe's two charming Ballads, " Oh ! take me to they heart again," 2s., sung by Miss Kate Rano (mezzo soprano) at Mad. de Vauchcran's Concert; and I'm not in love, remember," 2s. 6d., sung by Mile. Sedlatzek at the fashionable Concerts at Campden House, are published by Duncan Davison and Co. 244 Regeut Street, corner of Little Argyll Street, W.

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IWOULD I WERE A BUTTERFLY," by A. Schloesser, sung with Immense applause by Mad. LEMMENi-f Is published, price 2s. fid. by Duncan Davison & Co. 244 Regent Street, ^

"TF I COULD CHANGE AS OTHERS CHANGE,"

JL composed by M. W. Balfe expressly for Madame Laura Baxter, and sung by her with distinguished success at St. James's Hall and the Royal Surrey Gard is now published, price 2s. Gd. by Duncan Davison and Co. 244 Regent Street, W.

«pOOD NIGHT," New Song by A. Reichardt,

VJT Composer of "Thou art so near and yet so far," fs published, with English and German Words, and a Portrait of Herr Reichardt, price 2s, bd. by Duncan Davison & Co. 244 Regent Street, W.

MEYERBEER'S FOURTH MARCHE AUX FLAMBEAUX (*' Royal Wedding March "), composed in honour of the Marriage at the Princess Royal of England with Prince Frederick William of Prussia, which was played with such Immense effect by the Band of the Guide*, at the Fete of the Orpheonistes at the Crystal Palace, is published for the Pianoforte, price 4s., by Duncan Davison & Co., 244 Regent Street, London, \V.

GOD SAVE THE QUEEN," for Four Male Voices, as sung by the Choir of 3000 FRENCH ORPHEONISTS, at the Fetes given In the Crystal Palace, Sydenham,arranged especially for them by Cahille Di Voss, is published in score, price 6d., by Duncan Davison and Co. 244 Regent Street, W.

WILBYE COOPER'S NEW SONG, "The Meadow Gate," composed expressly for him by Gf.org s B. Allkn, is now published, price 2s. Gd.by Duncan Davison and Co. 244 Regent Street, W.

NEW SONGS by EMANUEL AGUILAR— " STMPATHY," poetry by Ellis Bell, dedicated to Signor Ferrari, price 2s., and 44 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 Bisters of Charlotte Bronte (Currer Bell, author of * Jane Eyre,') have been clothed by Mr. Agnilar in beautiful and expressive music. 'Sympathy' is full of tranquil tenderness; ' In a Wood on a Windy Day' paints the agitated and exulting mood often engendered by the stormy aspects of 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.**—Dotty News. 4,In a Wood on a Wlndv Day," was sung by Miss Grace Lindo with great saccess at Mr. Aguilar's Concert, Hanover Square Rooms.

KREUTZER'S 40 STUDIES for VIOLIN, Is. 6d.; Rode'sJ3C Caprices for Violin, Is. 6d.; Fiorillo's Caprices for Violin, Is. 6d.; De Beriol's7 Airs, with Variations, for Violin, Is.; Boosey's 100 Exercises and Studies by all the great Masters, for the Violin, Is.; Boosey's Violin Tutor, 24 page;, large ze, Boosey & Son, Holies Street

LOCH KATRINE WALTZ, on Scotch Airs, and KILLAUVEY WALTZ, on Irish Airs. By Lai-rent. Both Illustrated. Price Si. each. Boosey & Sons, Holies Street.

MARGARETTA WALTZ, on Balfe's Celebrated Song. By Laiirent. Beautifully Illustrated in colours by Brandard. Companion to the MAUD and BELOVED STAR WALTZES. Boosey & Sons, Holies Street.

THE MAZURKAS of CHOPIN, edited by J. W. Davison, complete In One large Volume, music tire (100 pages), with Preface by the Editor, and Portrait of Chopin, price As., or superbly bound in crimson cloth,

filt edges, price 10s. 6d.; Rossini's Stabat Mater, for Pianoforte, by Smart, complete, t.; Mozart's Twelfth Mass, do. 3s.; Moore's Irish Melodies, for Pianoforte, by Nordmann, 2s. Cd.; Mendelssohn's Songs without Words, complete, with Portrait and Introduction by J. W. Davison, cloth, 7s. Gd.; Meyerbeer's Dinorah, complete, for Pianoforte Solo, 7s. Gd.; the Juvenile Pianoforte Album, 12 pieces, Illustrated and bound, 3s. 6d. ; the Operatic Album, 100 gems from the newest Operas, for Pianoforte, in cloth, 12s.; Boosey's 100 Reels and Country Dances, for Pianoforte, 2i. 6d.; Boosey's 100 Waltzes, by Strauss, Lanner and Labitzky, for Piano, 3s.; Czerny's Etude de la Velocite, 2s.6d.; Czerny's 101 Exercises, 2i.; Boosey's Part-Song Miscellany, 13 Original Compositions, handsomely bound. 5s.; the Harmonium Museum, 100 Sacred and Secular Subjects for Harmonium, with Instructions, 7s. Gd.; Engel's Harmonium Operatic Album, 60 Gems for Harmonium, 7s. 6d.; Christy's Minstrels* Album, 24 Songs in One Book, 2s. 6d.; the Verdi Album, 25 Songs, In English and Italian, 4s.; Dinorah, for Voice and Piano, complete, 12s. Boosey 8t Sons, Holies Street.

HE MUTUAL LIFE ASSURANCE SOCIETY, 39

King Street, Chcapside, E.C.—A.D. 1834._The TWENTY-SIXTH ANNUAL REPORT, Cash Account, Balance Sheet, &c, arc now ready, and may be had on

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NORWICH MUSICAL FESTIVAL.

{From our own Correspondents.')

Tuesday, Sept. 18.—Of nil cathedral cities we should have considered Norwich the least likely to support a triennial musical festival, and such a festival as that of A.d. 1800. The united choirs of Gloucester, Worcester, and Hereford have an annual • meeting, but the Norwich festival is strictly triennial, and it might nave been thought that the increasing thirst after music would have induced the good folk of the eastern counties to travel to London in the intermediate years, the railway communication being convenient, and so have left no appetite for the good things put forward by the promoters of the meeting. However, the present festival offers so many attractions, in the shape of creative and executive art, that the ancient city may fairly compete with London itself. Two works new to the world are to be performed, and one new to Norwich, and the best attainable artists have been engaged for the oratorios and concerts. Success, therefore, is deserved, and we hope to be able to chronicle a complete triumph. Norwich labours under some disadvantages with regaid to its festival. The great charm of such events consists in the oratorios being performed in a sacred edifice, where the necessary quietude of the audience, together with the hallowed associations of the building, disposes the mind to an attention which can never be bestowed in a concert-room. Norwich has a cathedral, a noble building, eminently calculated for such performances, but the representation of oratorios is interdicted by the diocesan authorities, we suppose, as a desecration. Without entering into a discussion of this veto, we may congratulate Norwich on having so good a room to fall back upon as St. Andrew's Hall, in which the festivals are held. This building accommodates about the same number as Exeter Hall, so that it is not a mere makeshift.

The Norwich festival differs from those given in the western cathedral cities in the fact of there being no collection at the doors after the morning performances. It therefore argues much for the spirit of the place that since the first festival was held (in 1824) a profit of £8,270. 2s. 9d. has been realised in favour of various local charities.

Notwithstanding the revolutions which the railways have created, not alone in travelling, but in the habits of society in general, and its amusements, festivals in this, as in a few places of larger population, continue to exist, although apprehension has arisen that their existence' might be shortened by the facilities which the public enjoy in reaching London. There, in the season, every singer of note is found, and performances in some respects equalling those of the provincial festivals can be heard, to satisfy the most enthusiastic amateur, and at a less cost. As excellence is absolutely necessary in these days, and as the demand for the best artists, vocal and instrumental, is much greater than when festivals were first established, the difficulty is so to concentrate these and other requisites, as to enable its "managers to realise a fair profit for the charities. Of late, Norwich festivals cannot be said to have answered from a commercial point of view; but a much stronger appeal than usual is now made to the public aid, through official sources and otherwise. We take no notice of the preliminary rehearsals, for the simple reason that, however good in themselves, they do not enable a sound judgment to be formed of a new work. The most careful rehearsal, from the absence of the principal instrumentalists, must be imperfect. There are those who may recollect the excessive labour attendant on the rehearsals of former days. Now it seems as if, even in a new work, such is the perfection instrumentalists have attained, that rarely indeed are frequent repetitions required. And well it is so, for with the quantity of music now crammed into the performances, the rehearsals would scarce finish ere the concert began.

On Monday evening the festival (or rather prelude to the festival) commenced by a sort of bye concert, at a cheaper rate— five shillings the area, ten shillings and sixpence to patrons' gallery —enabling those who cannot afford high prices to partake in the musical treat of the week. The selection was that universal favourite, the Creation. No better choice could have been made, if only because it gave the audience an opportunity of hearing all the English vocalists. The attendance, although fair, about 1,000,

was not equal to what was anticipated. The patrons' gallery and area were full, but the galleries not. In earlier festivals there have been as many as 2,300 persons in the hall; but of late years, whether the orchestra occupies more space, or from what other cause, the committee seem unable to accommodate so large an audience. This no doubt makes a considerable difference in the general receipts, as the later evenings and the Messiah are always the most crowded. The Creation went off bright and sparkling, from beginning to end. Mad. Novello, Mr. Sims Reeves, Mr. and Mrs. Weiss, Mr. Santley, Mr. Wilbye Cooper, all sang their allotted parts with their accustomed excellence. The band was admirable, and the chorus almost faultless.

Wednesday, September 19.—The festival proper has been inaugurated brilliantly. At the first miscellaneous concert last night, most of the executants were in capital "condition," and the programme combined sufficient novelty with a good selection of pieces that have been tried and not found wanting. Viewed from a business aspect, the success was not so brilliant. The hall was well filled, but not crowded. On the other hand, the demand for tickets for this evening and for Friday's Messiah has so far exceeded the supply that the committee have erected an extra gallery above the seats reserved for "patrons " at the east endof the hall. This gallery is a substantial structure supported on iron columns. As it is situated immediately opposite the orchestra, its occupants will be placed on ne petit mieux, both for seeing and hearing. The interest excited by this evening's performance, and by that of Friday morning, affords another instance of the affection for familiar works and the prejudice against those unknown which distinguishes us from all other nations. Last night's concert derived special interest from the production of an opera which, written eighty-three years ago, is so aged and forotten that it is quite new; to-morrow is to be made memorable y the first public trial of a new cantata; but people seem rather to avoid these attractions in order to make sure of to-night, which is remarkable for nothing but the May Queen. Dr. Bennett's cantata cannot be called old, as it has only been two years before the world; but its merits received such immediate acknowledgment that it has already become a "classic," and, therefore, comes into the category of received works. Of course we always affirm that it is our national fidelity and steadfastness which makes us listen with devout attention to acknowledged masterpieces. Still we have heard foreigners assert that it is to our ineradicable shopkeeping propensities that this peculiarity is to be ascribed; in other words, that we are prudent even in our pleasures, and, en vraie nation boutiquiere, prefer taking our money on a sure card, investing our superfluous cash in a certainty rather than in a speculation. But, whatever, the reason, such is the fact, and, as long as it continues to be so, we must not complain if the compilers of programmes lay this truth to heart. We are, however, quite at liberty to praise when we find bold departures from this safe but unsatisfactory principle; and in this respect Norwich merits honourable distinction. The concert last night was rendered particularly interesting by a selection from Armiaa. We have watched with attention the increasing interest which the works of Gluck inspire. Even if it be a mere fashion it is one that cannot fail to bring good results. Our readers will remember the success of Orfeo at Covent Garden this summer, and also that of Iphigenia at St. James's Hall, which surprised most listeners into a confession that to them Gluck had been until then unknown. The general appreciation of his labours has emboldened Mr. Charles Halle to announce the performance of a third opera of the same master at Manchester. A selection from this arrangement of Armida was performed last night. All dramatic compositions lose effect when removed from the stage, but of all composers Gluck suffers most. His intense desire to be dramatic led him into that famous warfare, which the mention of his name invariably calls up. But after all, tacitly or openly, this rivalry between art moulded on art and art founded on nature, has been going on since art first began. It is instanced as plainly in Palissy the potter, and Rosetti the painter, as in Gluck the musician. Without comparing the intellectual powers of the two, we may suggest the resemblance between GVick and Wagner, not only in the ideas that animate, but also in the self-assertion that characterises both. If Wagner's present venture in France prove a success, the resemblance will be rendered still more striking. After all, Wagner seems to aim at the same object by a noisy revolution which Meyerbeer, for many years, has been striving to effect by gradual reformation. In each succeeding work we see Meyerbeer discarding more and more the formal artifices of his predecessors, in order to make his compositions more thoroughly dramatic; and the theory which Wagner preaches, as if it were a new evangel of which he is the apostle, is little else than a rechauffe of Gluck's creed—an amplification of the suggestion thrown out by Mad. Dudevant (Georges Sand) in the letter on Lei Huguenots, addressed to Meyerbeer some fifteen years ago. From the introductory matter to the new edition o( Armida, edited by Mr. C. Halle, we extract the following:—

"In the original French opera-book Armida'ia designated as a Drame Hiroique. It might more correctly be styled a romantic rather than heroic legend, setting forth in picturesque contrast the strife betwixt sensual pleasure and courageous duty. The story is as old as Christianity. It was shadowed out in the early mysteries, where the Goddess Venus and her seduction of chaste and noble warriors figured. Again and again has the same combination appeared under different costumes and disguises. It is one of the very few inventions which exist in the world of fiction, and is possibly the first Christian legend which in drama was allowed to take a place of interest, reputed as equal to that attaching itself to the marvels of pagan mythology."

Here, again, we might call attention to the similarity of subject between Armida and Tannhiiuser, in which Venus, like Gluck's Enchantress, holds her knight in silken toils, and which depicts the struggle between love and duty. To go further, might we not point to the duet in the fourth act of the Huguenots, where the subject is humanised and elevated? The scenes selected last night, from the second and third acts, form a tolerably complete story. Theyxomprised a duet (Mad. Clara Novello and Mr. Santley), in which Armida concerts with Hidraot the destruction of Roland; an air for Roland in the enchanted garden, which suggests by its soothing character the gradual influence of the magic scene upon the knight, until he is lulled to sleep (sung to absolute perfection by Mr. Sims Reeves) — a strain of delicious melody that haunts the memory long after its notes have died away; a scena, showing Armida herself, vanquished by love, lamenting her weakness, and then bursting out into an invocation'to Hate—as grand and dramatic a composition as can well be imagined (finely declaimed by Mad. Novello); an air with chorus, "Love shall no longer reign," in which Hate promises deadly opposition to her rival (extremely well deliveredDy Mad. Weiss); and a recitative, in which Armida bewails her passion. Here the selection terminated, but it might have very well been carried on to the end of the opera. We should then have learnt that two companion knights of Roland, after successfully resisting the fascinations of the enchanted garden, finally rescue him from the "silken dalliance" into which he has subsided, and honour and duty triumph. We repeat that Gluck's music loses infinitely in the concert-room, and is proportionately ineffective in detached pieces; but if the great composer was so powerfully dramatic when dealing with the unsubstantial creatures of romance, what would he have been if he had taken humanity for his theme?

Armida was not the only novelty. A soprano solo, "To please and then instruct mankind," sung by Mad. Weiss, and a bass solo, for Mr. Weiss, with chorus, " In p;eans loud," from a cantata entitled Hypatia, were by Mr. J. F. Hill, chorus master of the festival. Mr. H. H. Pierson, whose oratorio, Jerusalem, was performed here some eight years ago, was also represented by nn accompanied part song, to Campbell's " Ye mariners of England." The chorus ve this con amove, and the enthusiastic encore it elicited must attributed rather to its energetic execution by 260 fresh and admirably trained voices than to any other cause. Mile. Titiens made her first appearance in Norwich, and received a cord ial welcome. There is little scope for effect in the soprano part of " A te o cara," but the brilliancy of the Hungarian lady's voice produced almost as much effect on the audience as the delicious warbling by Signor Giuglini in the opening solo, one of the most exquisite melodies that ever emanated from the most plaintively melodious of composers. The audience had already unsuccessfully endiavoured to get several pieces repeated, but in this case the encore was too enthusiastic to be denied. Mile. Titiens surprised her audience beyond measure in "Casta Diva," and her

grand delivery of the majestic melody of the largo, as well as her energetic execution of the cabaletta, Were worthy of the applause she excited. The audience could not have exhibited greater warmth even if they had known that Mile. Titiens was suffering from such severe indisposition as would have justified her in not appearing at all. Mad. Borghi-Mamo's success was scarcely less decided. She was heard to most advantage in the air from the Donna del Logo, "Oh quante lagrime," although she produced a marked effect in the Neapolitan barcarole, "Santa Lucia." Mad. Novello was much applauded in the charming aria of Benedict and De Beriot, "Prendi per me." Miss Palmer sang with passionate earnestness Mr. J. W. Davison's setting of Shelley's song, "Swifter far than summer flight,"—an exquisite illustration of one of the most perfect gems by the most purely poetical of all poets, and breathing the very spirit of the original " Lament," with all its delicate and tender grace; and Herr Molique's melodious ballad, "When the moon is brightly shining," was sung with the utmost refinement of expression by Mr. Sims Reeves, the effect in both the latter instances being heightened by Mr. Benedict's perfect accompaniment on the pianoforte. The instrumental performances were by no means inferior to the vocal. Miss Arabella Goddard has helped so much to popularise Mendelssohn's G minor concerto, that we need only repeat for the hundredth time that the fair pianiste's execution is not merely mechanically irreproachable, but that it exhibits how thoroughly the performer is imbued with the intentions of the composer. The slow movement, with its lovely violoncello accompaniment, and the finale, with its exuberance of joyful energy, were both played to perfection. The same words will apply with as much force to Signor Piatti's incomparablejperformance of his own fantasia on airs from Linda di Chamouni. Trie orchestral pieces consisted of Beethoven's symphony in C minor, and the overtures to Masaniello and Zampa, both of which were given to perfection under the skilful guidance of Mr. Benedict. The mayor was present in the patrons' gallery with belt, sword, mace, and all the insignia of state, in pursuance of the following praiseworthy resolution:—

"At a meeting of the council of the body corporate of the mayor, aldermen, and citizens of the city of Norwich, held on the 5th day of September, I860, it was moved by Sir William Foster, Bart., seconded by John Godwin Johnson, Esq., and resolved unanimously: 'That this conncil, considering that the love of music which distinguishes this city is a subject of just pride, and that the triennial festivals arc the fruit and reward of long devotedness to this ennobling pursuit, earnesdy calls upon the citizens by themselves, and through their friends and connections, to promote in every way in their power the success of an enterprise which reflects so much credit on all concerned; being assured that such a success would bo a gain for music and lovers of music everywhere, an encouragement to local talent, an assistance to deserving charities, and especially gratifying to all who wish well to this ancient city. And, to exhibit practically the interest which the corporation takes in the forthcoming festival, a committee was appointed to co-operate with the committee of management, and to afford it all possible support and assistance.'

"At a meeting of the committee of council, held the 11th day of September instant, it was unanimously resolved : '1. That it would be the best possible proof of the hearty good feeling of the citizens towards the festival, and a great encouragement to the committee of management and the choral society, were the corporation, with their ladies and friends, to attend the' first miscellaneous concert on Tuesday evening.' '2. That the mayor be requested to invite the members of the corporation, and at the same time, the sheriffs, magistrates, and other leading citizens, to coffcur in this demonstration of the best wishes of the city for the success of this noble enterprise.'

"J. Henrt Tujlett, Mayor.

"Guildhall, 11th September, I860."
The italics are not our own.

Thursday, Sept. 20.—The success of the festival is now no longer a matter of speculation, but a certainty. The bright weather continuing of course exercises a favourable ^influence; but, on the other hand, the attractions of the programme are so many and so great that no wonder the tickets for admission, both at the morning and evening performances, should be purchased with avidity. The splendid edifice in which the concerts are held is of itself sufficient to attract visitors; and its acoustical properties being no less remarkable than its architectural beauties, the beau ideal of a music-hall is realised. In short, whether as an arena for civic assemblies, or as a place of, public entertainment, St. Andrew's Hall is unrivalled in England: at once ornamental and useful, it is a monument of which the city may be proud, and a receptacle the value of which can hardly be over-estimated by the inhabitants. When lighted up at night its appearance is dazzling, while the ecclesiastical style of Jts architecture, both interior and exterior, materially aids the illusion at the oratorio erformances in the morning. All day long the approaches to t. Andrew's Hall are crowded; so that but for the excellent arrangements of the police it would be somewhat difficult for visitors (especially at night) to gain access to the building. The good people of Norwich, who at the beginning of the week could not be kept indoors by the very inclement weather, were not likely to be debarred from exercising their curiosity in the open air when *' the rain was over and gone," the sky was unclouded overhead, and the comfortable sun shed light and warmth on every object.

The Dettingen Te Deum, and the Last Judgment, both superbly given, would merit a column of description; nevertheless, they must be passed over with a word. The singers in the Te Deum were Mad. Weiss and Miss Palmer, Messrs. Sims Reeves and Weiss; the principal trumpet part in the bass solo with chorus, "Thou art the King of Glory (Mr. Weiss), being executed by Mr. T. Harper with as much truth of intonation as though he had been playing easy passages on the easiest of instruments, instead of passages more difficult than any elsewhere met with, even in the scores of Handel, who wrote not seldom so perplexjngly for the trumpet as to incline many to the belief that it was in his time a different kind of instrument from the one subsequently employed. Of singers so well known as those we have named, in a work so familiar as the Dettingen Te Deum, it is requisite to say no more than that they did their best, and that better could not have been desired. The Last Judgment—in which Mad. Novello took the soprano music, and Mr. Sims Reeves sang the tenor part for the first time (so admirably, by the way, that the lovers of Spohr's music earnestly hope it may not be for the last) — made as deep an impression as at any performance of the same great work wc are able to recall. The Norwich amateurs have an affection for this oratorio, which first introduced Spohr to their notice, at the festival of 1830, on Friday, the 24th of September, when Sir George Smart was conductor, Mad. Stock hausen and Mrs. Knyvett, Master Phillips, Messrs. Biaham (the elder), Vaughan, Terrail, and Edwara Taylor (the Gresham Musical Professor), were the singers, and Mori, WagstafF, Lindley, Dragonetti, Nicholson, Grattan Cooke, Willmann, Powell, Mackintosh, Piatt, Harper, Chipp, &c. (all eminent performers, of whom only two are now living) among the members of the orchestra. The alto part (allotted yesterday to Miss Palmer) was intrusted to a gentleman—a counter-tenor (Mr. Terrail, so well remembered at glee parties and other convivial meetings). We doubt, however, if, with all this array of names, the Last Judgment was nearly so well rendered as on the occasion under notice —30 years later. What used to pass muster then would hardly be accepted now without a protest; and with respect to singers, Mad. Novello and Mr. Sims Reeves are not bad substitutes for Mad. Stockhauscn and the elder Braham; the rich contralto of the clever and improving Miss Palmer is assuredly preferable to the shrill tones of a counter-tenor; while, for sacred music, a more satisfactory barytone-bass in every sense than Mr. Santley could not be singled out. On the vast improvements made by our choristers and orchestral players during the last quarter of a century it is unnecessary to insist. The choruses were without exception finely sung (even "Destroyed is Babylon" being as steady in time and tune as it is too frequently the opposite), and the instrumental preludes to the 1st and 2d parts of the oratorio were performed by the band in such a manner as to display their manifold and exquisite beauties in the most thoroughly effective light.

The new oratorio has been tested and come forth from the ordeal triumphantly. If not absolutely a great work, it is in every sense the work of a great musician, and has raised its composer, high as he has always been previously rated, a step higher than he stood before. It shows him a master of the choir as well as of the orchestra, capable of dealing with a lofty Scriptural

subject, and able to sustain himself on the point of elevated expression indispensable to its proper treatment, besides possessing that thorough familiarity with technical resources which allows the application of those elaborate contrivances in which the greatest masters of the art have delighted to exercise their ingenuity and show their power. All we can add now is, that the oratorio (solo-singers—Mad. Novello, Mad. Weiss, Miss Palmer; Messrs. Sims Reeves, Wilbye Cooper, Santley, and Belletti) was performed under the direction of Herr Molique himself, who was enthusiastically received on appearing in the orchestra, and as enthusiastically applauded at the end of his work. Two pieces were redemanded arid repeated, at the request of the Mayor of Norwich (the Lord-Lieutenant, strange to say, not being present on this occasion). To conclude, musical Norwich has added another laurel to its already goodly wreath, and done honour to itself in honouring one who has 6hown himself so worthy of distinction.

Friday, Sept. 21.—Abraham, by general admission, is not merely a success, but a legitimate success. Those who previously knew anything of the composer, and recognised in him one of the foreigners whose residence among us exercises the most salutary influence, whose example and teaching produce in an equal measure valuable results, and whose earnest devotion to art in its purest and highest signification have won them places among the ranks of music's chosen expositors, were not surprised to find in Herr Molique the author of a work so lofty in design and so masterly in execution. Others less intimately acquainted with the current history of art-progress, and to whom his name was comparatively unfamiliar, or at best only known as that of an eminent performer and composer for the violin, were probably taken aback by this evidence of a new and unexpected talent. Both sides, however, were ready to acknowledge the unusual merit of Abraham, and to hail it unreservedly as the best specimen of oratorio writing since Elijah. This was felt more and more strongly as number succeeded number, yesterday, in St. Andrew's Hall; and the grand chorus which terminates the first part left no further doubt on the matter. A second part was to follow, it is true; but no one anticipated any falling off; on the contrary, people felt sure of the rest, and looked forward to experience still increasing satisfaction. Conscious that for more than an hour a genuine master had been ministering to their entertainment, they were content to allow that master to conduct them where he listed, persuaded that he enjoyed alike the power to edify and the gift to please. Halcvy, the French composer, observing with anxiety the silence of his instructor, Cherubini, while some trivial flatterers were extolling, in unmeasured terms, the beauties of La Juive, addressed the moody, if not morose, Italian as follows: "Maitrc! vous ne me dites rien f" "Puisque tu ne m'as rien dit," was the brief and significant retort of Cherubini. But when, at the end of the first and second parts of Abraham, Herr Molique turned towards the conglomerate of Cherubinis, who, in the shape of the crowded audience of St. Andrew's Hall, sat there to pronounce judgment according to the dictates of the impressions they had received, they left him no time to put the Halcvyan query. He had really said so much to them, and which they had so thoroughly appreciated, that spontaneously, and without giving a moment to consideration, they recorded a unanimous verdict in his favour. The members of the orchestra and chorus—not anticipating the decision of the public, as is too frequently the unwarranted and anomalous practice—merely echoed it; but echoed it with such hearty acclamations as allowed no question of their unqualified approval.

The book of Abraham (prepared, as we are informed, by the composer) is modelled after that of Elijah (the compilation, as all the world knows, of Mendelssohn himself). The text of every piece consists of some extract from Sacred Writ, appropriate to the matter in hand. To this an objection has been made, specious enough, but which, if enforced, would greatly restrict the domain of the oratorio. Here it is, nevertheless :—

"Tho merits of Elijah are due to the composer having followed the bent of a dramatic genius. The absence of Scripture phraseology wonld have detracted nothing from these merits. When tho sacred text happens to accommodate itself naturally and gracefully to the subject, a beauty is gained by its use. But to forco the union is to injure both.

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