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September 22.-From what we have already observed with respect to Herr Molique's new oratorio of Abraham, produced here yesterday morning, it may be readily inferred that the work belongs to the school of Mendelssohn; and in adding that Herr Molique has occasionally followed the illustrious author of Elijah more closely than is consistent with perfect independence of mind, we state at once the greatest, if not the only, reproach to which the music of Abraham is open.

The following are the incidents which Herr Molique has selected for his oratorio:-The departure of Abraham and his family into the land of Canaan; The separation of Lot and Abraham; The captivity of Lot and his rescue; The casting forth of Hagar; and The intended sacrifice of Isaac. These, with appropriate commentaries, reflections, or prayers, in the form of choruses, concerted pieces, or solos, constitute the oratorio, which, though but slightly dramatic in character, is nevertheless sufficiently connected and continuous to make a satisfactory whole, whilst abundantly affording opportunities for the exercise of the musician's art. The first thing we find to admire in Herr Molique's work is its wellsustained elevation of style. From the first note to the last it is dignified and chaste, whatever may be the passion or emotion the composer was called upon to express. The next thing is the masterly facture of the entire score, of which it might truly be said that not a note, or the position of a note, could be changed without mischief to the whole. Every sound has its purpose, and undeniable reasons could be given for its existence. Anything more clear, rich, or resonant than the voicing and instrumentation, it were difficult indeed to imagine; and very few, if any, masters of the present day could write such scientific and pure double counterpoint, imitations, and fugues, as we discover in Herr Molique's oratorio.

To follow so long and elaborate a work through all its details would be tedious and unnecessary. We shall therefore content ourselves with a selection of certain pieces for special remark, and commence with No. 3, an aria in G major, "Lead me, O Lord," sung by Abraham upon receiving the Divine command to depart into the land of Canaan. This has a flowing, continuous, and eminently vocal melody, full of beauty and expression. The orchestration is of the simplest; one flute, two clarinets, one bassoon, two violas, and violoncellos and double basses being the only instruments employed, and yet the effect is extraordinarily full and rich. One of the violoncellos is treated as a solo instrument; and the manner in which this is made to blend with or support the voice, and impart life and movement to the accompaniment, commands particular admiration. This is, indeed, from first to last a lovely song.

No. 8, "Let there be no strife," is another air for Abraham of a totally different character, but not less charming. Thus, in the key of F major, Abraham appeals lovingly to his brother, praying that there may be no dissension between them. With a lively and affectionate melody is united what we may term a caressing accompaniment, which contributes materially to the expression of that state of feeling in which Abraham is supposed to be. Here, too, Herr Molique exhibits the same economy with respect to means to which we have already alluded. One flute, two oboes (the first of which plays a very prominent part), two bassoons, two horns, and the so-called "string quartet" make up

his orchestra.

No. 9, "Who walketh uprightly," an air in A minor, for the tenor voice, evidences still more strikingly Herr Molique's power of making a great effect with a few instruments; for here he uses but one flute, one oboe, two horns, and the string quartet. This air is unquestionably one of the most delightful and original pieces in the oratorio. The accompaniments present the very perfection of part-writing, and although very rich in so-called "figures," the voice part stands out always clearly, and commands all the attention due to it.

No. 15, "Hear our prayer," a chorus in A major for female voices only, is richly and beautifully harmonised, and also illustrates very happily that command over the resources of fugal imitation which so rarely appears in the works of composers of the present day.

No. 17, in E flat, is one of the most spirited and melodious marches ever written, and we expect soon to hear of its being played by every military band in England. Here Herr Molique employs the full orchestra, but he uses it discreetly, and although there is immense brilliancy and force in the "tuttis," they are never noisy or bombastic.

In No. 19, "Praise ye the Lord," a magnificent chorus in F major, Herr Molique has put forth all his strength. The counterpoint, clear, vigorous, full of variety, and eminently vocal, is throughout of the purest and best kind; and the fugue commencing with the tenors on the words "His right hand and His holy arm," is such as nothing less than an eminent master could write. This piece brings the first part grandly to a close.

No, 22, "Let all those rejoice," a trio in E flat major for alto, tenor, and bass, is one of the finest specimens of genuine three-part counter

point with which we are acquainted. There is scarcely any accompani ment at all to it, and the rich fulness of effect produced by the voices only in every bar is really surprising to those acquainted with the peculiar difficulties of this style of writing. "Let all those rejoice was repeated by desire.

No. 27, "And the Lord stretched forth His hand against them," a chorus in B minor, also claims our enthusiastic praise. Full of fiery vigour and exciting passion, it quite takes the feelings by storm, and there is deep poetry in the sudden transition to the slow movement on the words The first-born of death have devoured their strength," with which the chorus unexpectedly terminates. All this belongs to the very highest order of art.

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No. 29, "Cast out this bondwoman and her son," a duet in A minor, in which Sarah demands of Abraham the expulsion of Hagar, is another gem, admirable for dramatic expression as for its strictly musical beauties.

No. 32, "Commit thy way unto the Lord," a chorus in F major, in which the composer has used nothing but common chords, though simple and primitive in character, is likewise a masterpiece in its way. This was also redemanded.

In No. 35, "Great is the Lord," a chorus in D major, Herr Molique's command over the resources of imitative counterpoint and fugue, no less than his eminence as an orchestral writer, is again triumphantly displayed.

No. 38, "Pour out thy heart before the Lord," a very lovely tenor song in A flat, and No. 42, a duet in E major, in which Abraham and Isaac rejoice together at their deliverance from the terrible ordeal through which they have passed, may also be reckoned among the best things in the oratorio.

In No. 44 (the last piece), "Great and marvellous are Thy works, Lord God Almighty," a chorus in C major, as in the other choruses we have mentioned, and also in No. 1, "Blessed is the man who trusteth in the Lord" (which we should have mentioned before), Herr Molique's science and lofty musical feeling are again strikingly exhibited. (To be continued.)

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DEAR SIR, It was not without some pleasure that I found myself, in your number for Sept. 8th, the subject of a detailed musical review; because your remarks, although not flattering to the works reviewed (three songs), were written without partiality, and were free from what has been my fate on so many former occasions - personal attack. If I venture now on a course of direct contradiction to all you say, if I proceed to justify each one of the points which you designate "faults," it is not without first acknowledging the trouble and pains you have bestowed on that review, nor without thanking you for the kindness with which you counsel me to "reconsider other points."

In the first place, speaking of my "Song of the Survivor," you say that "a transition to A flat (the key of the song being G) in the opening symphony, which being made nothing of subsequently, is (to say the least) superfluous." I say, in defence, is it true that anything in composition is "superfluous" simply because it is not subsequently made use of? Have we not hundreds of instances in which, either to suit the text, or to express some particular feeling or meaning, a transition is used which neither the subsequent text, nor the progress of the composition, will allow to be repeated? And lastly, if, for the sake of roundness of form, or unity of plan, a repetition of the symphony be made (as I have done, page 3, line 4), is it not sufficient to give the whole "figure and rhythm, without actually reproducing the same harmonies? Your second objection is to a false relation" (page 1, line 3, bar 3) in the same song, between G natural in the first chord (6, 3 on F) and G# in the next (6, 5, 3 on G#)." The harmony in question is this,

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I will not fill up your space with a selection of passages from

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the best authors in which similar progressions of harmony occur. But I will cite no less and no more remote an authority than Mr. G. A. Macfarren, in his new book on "The Rudiments of Harmony," in which (page 12, sect. 21), in the chapter on "False relations," he states distinctly,-"False relation does not exist between two successive chords when the 3rd of the first chord is the root of the second chord." And he illustrates this by an example in the very key in which my "false relation" occurs; thus:

pointing out particularly that the G in one chord, followed by G# in the next, does not constitute "false relation."

Your third objection, still in the same song, is to "a dissonance, composed of a major 9th, major 7th, and major 6th on D, most unceremoniously taken, and decidedly objectionable." This

(occurring at page 2, line 2, bar 3) is, I maintain, not to be considered a discord of the 9th at all; for the bass, D, forms no part of the harmony, but is a Pedal heard previously, and continued subsequently to the discord. The chord, if it occurred suddenly, without preparation, would be certainly objectionable-but it does not the passage before and after determining the bass note as a pedal.

On these three points, then, I claim to be in the right, and cannot accept your remarks as a "correction."

On the fourth point (your last objection), in reference to my song, "Still waters run deepest," I have firstly to complain that you have not done me justice in transcribing the passage you quote; a reference to the passage, as it stands in my song (page 2, line 1, bar 3), will show that you have misquoted the left hand. Secondly, I urge that the point in question is one upon which there may be a difference of opinion, and which ought to be considered " a matter of taste," not a fault. As you quote the passage, however, it is made to appear wrong beyond doubt, from the fact that the B flat in the left hand appears as a pedal-note, and changes to a different bass when not in concord with the harmony. As I have it, it stands thus:

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You say "What becomes of the F#, on the chord of Bb ?" I consider that it is resolved by the G in the next bar in the right hand. The melody and harmony meet there on the same note,

and, as the G on which F# resolves is required for the melody, it is a matter of taste not to anticipate the sound of it, and to keep the F# unresolved until then. Had I been scoring such a passage I should certainly have put the resolution, G, at the commencement of the bar (in the harmony). It would have been a G of a different tone-colour (i. e. some other instrument) to that G which occurs afterwards in the melody. But on the piano, where we have no such distinctions of colour of tone, it is, I think, quite justifiable to allow the melody to act as harmonic resolution; and in this case it is not only allowable, but, I think, rather elegant not to have the G sounded until the melody does so. At any rate this should remain an open question (as, indeed, should many other things) until some law shall have been laid down, and "accepted" by musicians in general, for all points of "taste' or school." All ears are not constituted alike; all ears are not equally susceptible of distinguishing the melodic part from the accompanying harmony; nor have they all the same power of retaining the impression of a dissonant harmony, until something "satisfactory" occurs in the melody removing such impression.

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Are not all the rules at present accepted in Harmony and Composition the result of "what sounds well, and what does not? Does not everything we are told to do, and all we are prohibited from doing, emanate from one uniform desire to sound well? If, then, all that sounds well is right, may we not lay down another fundamental law, and say-only "that" is wrong which sounds bad? I think we do make this law in practice, and in our everyday-judgment of new music. The only question raised, but not answered, being-What "does" sound well? So long as we are as far from a settlement of that question as we are at present, it must remain one in which education of the ear, quickness of apprehension, sympathy, taste, fancy, love of novel effects, and a nameless variety of other influences will ever preponderate. If, then, in looking over new compositions, all of which are earnestly conceived and carefully compiled, we come to points of objection, which are evidently not the work of chance or neglect, but of intention and purpose,- is it right at once to condemn them as "wrong" simply because they differ from our own idea of what is "right?"

I can scarcely hope that this long refutation will find its way into your columns, for which it is designed; but, should you be generous enough to insert it, I feel sure some of the points discussed will not be without interest to some of your readers, while you will be making an "amende honorable " to Your very obedient servant, FRANCESCO BERGER.

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36 Thurloe Square, Brompton, Sept. 22, 1860.

MUSIC IN BRUSSELS.* BRUSSELS possesses a conservatory of music, a royal opera house, a large number of excellent performers on all the principal instruments, a pianoforte in nearly every house, and yet it cannot boast of anything like the musical activity to be found in German towns of far less importance.

Church music is, as a general rule, badly organised, both in Brussels and throughout Belgium; money is wanting to do anything distinguished by the slightest artistic value in this branch of composition. There is no deficiency of good elements for the purpose, and the new organs from the factories of Merklin-Schütze and Company are calculated to give a very satisfactory impetus to the cause, but nothing is done in the quarter where the greatest patronage might naturally be expected.

The theatres have had their periods of success and depression. The Theatre Royal has had some good artists during the past year, but the monotony of its repertory has kept people away. As the repertory can, in accordance with the prevailing taste, be renewed only by means of operas which have been successful in Paris, the difficulty of renewing it consists, in the first place, in the fact that there is scarcely any novelty worth anything produced in Paris itself; and, in the second place, in the fact that what is strikingly new requires very great artistic resources, and

* From the Niederrheinische Musik-Zeitung.

a frightful outlay for the mise-en-scène. In Paris, the Grand the music of Eve in the third part, usually allotted to a second Opera can satify its ever-changing population of some hundred soprano-having for her coadjutors Mr. Wilbye Cooper and Mr. thousand visitors with its old operas à grand spectacle; but in Weiss. The band and chorus together numbered about two thouBrussels, the audience that pays its money to the theatre is con- sand five hundred, a powerful force, doubtless, but by no means stantly the same, and requires something new for what it expends. too powerful to create an effect in the central transept of the Meyerbeer's Pardon de Ploërmel has been the only lucky hit Crystal Palace. Mr. H. Blagrove was at the head of the instru for the management during the past theatrical year. Mlle. ments, and the regiment under his command was a capital effective Boulard, whom the Parisians could not appreciate, proved a great working body. The chorus consisted of the Vocal Association, with attraction. She has turned out an admirable artist, for true talent, draughts from the Sacred Harmonic Society and other choral when supported by practice and success, soon attains artistic institutions. The whole was placed under the direction of Mr. maturity. Benedict, so that nothing was wanting to insure a first-rate perUnder the above circumstances, Merelli's Italian Operatic Com- formance. The general execution was for the most part pany was most welcome to all lovers of music. It played in the irreproachable, but Haydn's drawing-room oratorio failed to proThéâtre du Cirque, a very dirty house, but one exceedingly well duce any marked sensation. Even the choruses, "The heavens adapted for sound. The band was something execrable, and the are telling," and "Achieved is the glorious work," which almost chorus simply ridiculous. The two combined would have re-invariably strike an audience as with a hammer, passed off with duced their excellent conductor, Orsini, to despair, supposing the faintest possible applause. The solos alone created anything such a thing were at all possible in the case of the conductor of a like enthusiasm; and indeed the highest amount of excitement strolling Italian company, who can adapt himself to everything, was justified in the case of Mad. Novello, whose singing of "With and has been subjected to every ordeal. In spite of all obstacles verdure clad," and "On mighty pens," was literally transcendent. and shortcomings, however, some of the performances, for instance "To hear Mad. Novello sing With verdure clad,' as a fluent that of Don Pasquale with Donizetti's charming music, reminded reporter of the Worcester Festival in a daily contemporary us, by the merit of some of the artists, as well as the southern expressed himself, "was worth a long journey and much treasure. warmth and liveliness of the whole representation, of the good More exquisite, refined, and finished singing we never listened times of Italian singing, and afforded a real treat. to. Mr. Wilbye Cooper was warmly applauded for his careful reading of "In native worth;" and Mr. Weiss, in the two bass airs, " Rolling in foaming billows" and "Now Heav'n in fullest glory shone," displayed his fine voice and manly style to eminent advantage. To-day the Messiah will be given for the second farewell performance of Mad. Clara Novello, who will be assisted in the solo vocal department by Mad. Sainton-Dolby, Messrs. Wilbye Cooper, Santley, and Weiss.

By the repetition of his Paris Concerts, Richard Wagner has produced a sensation here also, a fact that was inevitable, considering how the public are so satiated, as I have before mentioned, by the eternal monotony in musical matters. For a considerable length of time, his concerts were the sole topic of discussion in all the local papers, as well as in all the coffeehouses and other places of public resort. The majority of the patrons of music here have left the Future to decide on the real value of Wagner's compositions, although they are convinced the composer is very anxious that his works should be appreciated by the Present.

Good orchestral music is to be heard only at the concerts of the Conservatory, under the direction of M. Fétis. The band has made considerable progress during the past year.

M. Fétis does not, however, confine himself merely to classical masterpieces; so little does he exclude the productions of his contemporaries, that he performs even unpublished overtures and symphonies. It cannot, of course, be asserted that he is invariably lucky in his selection. During the last series of concerts we heard an overture to Shakespeare's Macbeth, by M. de Hartog, a Dutch composer, who resides in Paris, and composes for his own pleasure and that of his friends also- and has already published several works. The composition of characteristic overtures to tragedies is something peculiar; the only models of this kind of writing, Beethoven's overtures to Coriolanus and Egmont, stand too high to be equalled by the efforts of mere talent, and what have we, now-a-days, among composers but talent at the very most?

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Herr Meyenne, one of Fétis' newest pupils, may also, by the way, lay claim to the possession of this quality. He has now come forward, although somewhat tardily, with an unpublished symphony. It was successful, as was likewise, and perhaps more deservedly, a symphony by Samuel, which contains a great deal of originality. There was a remarkable performance, at the last concert of the Conservatory, of the finale to the second act of Le Nozze di Figaro. Irritated at the mutilation of this magnificent piece of composition at the Théâtre Lyrique in Paris, Fétis determined to let the public of Brussels-that is to say, the "small Parisian" public-hear what was the real effect of it when played as Mozart wrote it, and he succeeded completely in carrying out his intention.

CRYSTAL PALACE.-The first of the two farewell performances of Mad. Clara Novello, announced to take place at the Crystal Palace, previous to her final retirement from public life, came off on Wednesday, and attracted a large audience, the number of visitors approximating to thirteen thousand. At half-crown prices of admission so great a crowd at this period of the year proved the immense popularity of the singer, or, at all events, an almost universal desire to hear her for the last time. The performance consisted of the Creation, Mad. Novello-who, by the way, sang

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belonging to the Covent Garden company under Mad. Vestris, MR. JOHN BROUGHAM- the popular Irish comedian, formerly and to the Olympic under the same manageress-commences an engagement at the Haymarket Theatre on Monday, October 8, in an original three-act comedy, writen by himself.

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MANCHESTER-MAD. JULLIEN'S CONCERT AT THE FREE-TRADE HALL.-On Saturday last, the public of Manchester had an opportunity of hearing, for the last time, we believe, the fine band which, under the magical influences of M. Jullien, for so long a time delighted the ears of the English public. Prince George Galitzin (who assumed the conductorship) could not feel other than satisfied at the welcome bestowed upon him and the compositions of which he is the author, one of which, the " Surprise' Polka, was given with such startling and emphatic precision as to secure for it the honour of an encore, as hearty as could be desired. The solo singers were Miss Poole, Miss Dyer, and Mr. Henry Haigh-old favourites in Manchester-all of whom well sustained their reputation. During the evening, the choir, which has been trained by Mr. D. W. Banks, gave two illustrations of sacred art which were new to Manchester-a Russian chorus, very graceful in its movements, by Bortniansky, and a more weighty composition by Prince George Galitzin, "Sancta Maria." Amongst the pleasant performances by the choir of the Saturday Evening Concerts on this occasion was one we cannot overlook. At the commencement of the evening, Mr. Dixon, a member of the choir, appeared before the audience, and on behalf of the choir presented Mr. Banks with an ivory bâton, bearing the following inscription :-"Presented to D. W. Banks, Esq., by the members of the choir of the Saturday Evening Concerts, as a testimonial of their respect and esteem.-Manchester, September 15, 1860." The bâton was a beautiful example of workmanship, from the establishment of Messrs. Ollivant and Botsford. The concert for

this (Saturday) evening will, we may remark, be of unusual interest, and will bring before the public of Manchester not one only, but many of the most eminent artists in Europe.-Manchester Weekly Times.

PARTANT POUR LA SYRIE.-It is a well-known fact that the words of the above song, which during the last few years has enjoyed a new career of publicity, were set to music by Queen Hortense. It is not, however, so generally known, perhaps, that

the instrumentation of the song was the work of an artist still living, very advanced in age, but still hale and hearty, in Germany. The ducal Capellmeister at Gotha, L. Drouet-a near relation of the postmaster at St. Menehould, who recognised and arrested the fugitive Louis XVI.-was, in his youth, a member of the band at the court of the King of Holland, and for some time musicmaster of Prince Louis, now Emperor of the French. It was he who scored the above song, since become so celebrated. The Emperor has not forgotten his former master, to whom, some year or two back, he forwarded a valuable golden snuff-box, set with brilliants.

The Theatres.

OLYMPIC THEATRE.-A short extravagant farce, founded on a French vaudeville (Un Tigre de Bengale, we believe) and entitled Savage as a Bear, has been produced at this house. The plot rests altogether on the unreasonable jealousy of a certain Gregory Griffin (Mr. F. Robinson), who insists on tormenting himself and everybody around him by sus pecting that Mr. Jujubes (Mr. H. Wigan), his opposite neighbour, smokes cigars and arranges mignonette for no other purpose than that of carrying on a telegraphic flirtation with Mrs. Griffin (Miss Marston). The lady makes matters worse by addressing a letter to the reputed libertine, requesting him to desist from his harmless practices, for Jujubes coming over the way, in the belief that the letter is a hoax, nearly falls into the clutches of the terrible Griffin. The wife, anxious for nothing but peace and quictness, is perpetually concealing her innocent but timid visitor from her enraged husband; but, as the unfortunate Jujubes never hides without leaving behind him some light article, such as a stick, a hat, or a shoe, he forms an ever-lengthening chain of presumptive evidence which renders Griffin more frantic than ever, till at last, discovering the innocence of Jujubes, he becomes equally extravagant in his demonstrations of friendship. The harmless, timid, civil nature of the persecuted Jujubes is represented with much characteristic humour by Mr. Horace Wigan (the adapter of the piece), and there is a blunt, bustling abigail, loyal in the service of her mistress, who is very well played by Mrs. Emden. But the jealous husband, who is, after all, the main personage of the piece, is scarcely to be rendered palateable by any artist who lacks the genius of a Robson, and Mr. F. Robinson in essaying a part altogether out of his line makes an exhibition of mere force that is neither natural nor effective. The success of the piece is moderate.

STRAND THEATRE.-Messrs. Yates and Harrington have concocted an obstreperous little piece which, with the title Hit him—he has no Friends, brings the entertainments at the Strand Theatre to a noisy conclusion. Mr. James Rogers enacts a gentleman of extremely nervous temperament who has fallen into dire misfortunes from the fact that he bears the same name as a wicked personage whose desertion of his wife and children is recorded in the daily papers. The lady to whom he pays his addresses indignantly rejects him, her brother is ever watchful to exterminate him in single combat, a magistrate is prompt with a warrant for his apprehension, and the people of the country inn where he seeks a refuge from persecution attribute to lunacy the excited state of his feelings. The force of the piece consists in the reckless oddity of the dialogue and the hearty self-abandonment of Mr. James Rogers to his manifold miseries. It was completely successful.

DINNER TO MR. BUCKSTONE.-The members of the Haymarket company, in return for a similar invitation given to them a few weeks ago, invited their esteemed and respected manager to a dinner on the 9th inst. Mr. Chippendale, stage-manager, was in the chair, with Mr. Charles Mathews facing him, and amongst the few visitors invited were Mr. Benjamin Webster and Mr. Robert Keeley. As the dinner was entirely of a private nature, we need only record that the numerous toasts and speeches pleasantly commemorated the harmony that has reigned throughout the establishment for so long a period, and that the health of Mr. Buckstone elicited one of the heartiest responses of the evening. The festal accompaniments reflected the highest credit on the and showed to every advantage the excellent cuisine and vinous resources of that popular refectory.

which specimens, it may be remembered, were presented to the Parisians a few months since in a series of some half dozen concerts) is the Emperor Napoleon. The Emperor has had several interviews with Herr Wagner, and the result is that he is charmed with his music; though it is scarcely probable that at these interviews Herr Wagner either sang or played to his Majesty. On the other hand, it is satisfactory to know that Herr Wagner is charmed with the Emperor Napoleon. The Emperor has directed that no expense shall be spared in putting Tannhäuser on the stage in a style worthy of the great Republican and German Unitarian who composed it; and Herr Wagner has shown his appreciation of the great Liberator of oppressed nationalities by introducing into his perfect chrysolite of an opera the meretricious and altogether foreign element of a ballet, so as to qualify it for production at the Académie. This is very civil on both sides; and, even if Tannhäuser does not succeed in Paris (which, however, it must do if enough money is spent on it), the French Emperor will be sure to have some sort of success in Germany-that is to say, among the party to which Herr Wagner belongs, and over which he has an influence which will not appear unaccountable to those who have read any of his writings. We wonder what Napoleon I. would have thought of Herr Wagner's operas-supposing that he had heard them at a moment when there was no question about the possession of the Rhine country. He liked Méhul's Irato, which was written in the Italian style, but not Méhul's other operas; and, when he was asked why he had not appointed Cherubini director of his concerts, replied-ignorantly, but with a meaning that some will understand that it was "because he liked music, and not noise." It suits Napoleon III. just now to pretend that he likes noise, not music. However, we will say no more about Tannhäuser until it is brought out at the Royal English Opera-which, it is said now, will open the first week in October. Illustrated Times.

POETRY v. PROSE.

By HAYDN WILSON.

THE GREATEST MUSICAL COMPOSERS.
THESE are reckon'd five in number,
Music made, exciting wonder,
With their deep science, beauty, style;
Though doom'd to please but for a while.
Their names well known and ideas scanned,
When sung or play'd with a full band.
Great Handel, Bach, Haydn, Mozart,
And Beethoven, all touch'd the heart.
The first in choruses sublime,
Soars high, as if to heav'n would climb.
The second's deep fugues not surpass'd;
The third, for all a mind possess'd.
The fourth, for grandeur not outdone,
He labour'd hard and laurels won:
His years were only thirty-six,
Toil'd day and night his fame to fix.
The fifth, whose depth of mind far fetch'd
Rich harmonies, effects outstretch'd ;
A style his own, so grand and new,
That stepp'd beyond the 'ceding few.

CONCERT-ROOM PIANISTS.

THIS class of professionals, when master of their line of business, have to accompany the singers and sometimes prop them up, are of more importance than the public seem to be aware, who anticipating what they are going to do; while so much depends on a good accompanyist that a finished singer has reason to almost taste and judgment of Mr. Wylde, Proprietor of the Café de l'Europe, waiting or retarding the time to afford the other every chance of dread singing to one not up to the mark, that cannot humour by displaying his taste and energy. Although he has to accommodate vocalists in many ways, and be everything to them, whether comic or sentimental, between the first or second verse of a song the public avail themselves to applaud while he is playing the symphony; and whatever effects he throws into the accompaniment, when done with judgment, so as not to encroach on the vocal part, it passes away unnoticed. In some rooms this functionary

THE LIBERATOR AND THE LEVELLER.-We hear from Paris that great preparations are being made for the production of Tannhäuser at the Grand Opera. The only person in Paris, to judge from the newspapers, who likes Herr Wagner's music (of

Buckley Serenaders, and all their Copyright American Melodies, are just published by Messrs. Hopwood & Crew, 42 New Bond Street, London, W. The Original and Celebrated Buckley Serenaders (from 585 Broadway. New York, U.S.) wiil make their First Appearance in London at the St. James's Hall, Piccadilly, early in October. N.B. Full particulars will be duly announced.

is the only thorough musician engaged; and although so much "I'D CHOOSE TO BE A DAISY," as Sung by the responsibility hangs on his shoulders, he is considered nobody with the public, and not being an attraction equal to the vocalists, because classical instrumental music is little understood in such places, he is sometimes slighted and underrated by his employer, both in importance and his terms, occasioning him who does the most work to be the worst paid.

Advertisements.

BOOSEY'S MUSICAL CABINET.-Under this title

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."

RAMSGATE SANDS QUADRILLE.

The most

popular set of the day. Founded on favourite and well-known melodies, illustrating a visit to Ramsgate, in characteristic music. By BURCKHARDT. With a most superb Frontispiece, by Brandard, in Colours. Boosey & Sons, Holles Street.

OTRE DAME. Romance for the Pianoforte, by EMILE BERGER. Founded on a very beautiful subject by Pergolesi. Price 3s. Illustrated by Laby. Published this day by Boosey & Sons, Holles Street.

Bach Book contains from forty to fifty pages of Music, beautifully printed on fine SCHLOESSER'S BRILLIANT DUETS for Pianoforte,

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.

BOOSEY'S

on Oberon, Dinorah, Traviata, and Rigoletto. 5s. each. All effective, brilliant, and moderately difficult. Boosey & Sons, Holles Street.

MUSICAL CABINET — MENDELS- THE BALLaining 50 Waltzes, 40 Polkas, 10 Galops, 2 Schottisches, 2 VarROOM MUSIC-BOOK, price 4s. in crimsovianas, and 12 Sets of Quadrilles (complete). Boosey & Sons, Holles Street.

SOHN-No. 1 contains Twenty Favourite Songs by Mendelssohn, with English Words and Pianoforte Accompaniments. Price One Shilling. Boosey & Sons, Holles Street.

BOOSEY'S MUSICAL CABINET-BALFE-No.

2 ASCHER'S CLOCHES du VILLAGE (just published),

contains Twelve Popular Songs by Balfe, including "The Green Trees," "The Good Night," 39 66 Beloved," &c. Price One Shilling. Boosey & Sons, Holles Street.

BOOSEY'S MUSICAL CABINET-VERDI—No." 3

contains Fourteen Favourite Songs by Verdi, with English Words and Pianoforte Accompaniments. Price One Shilling. Boosey & Sons, Holles Street.

BOOSEY'S MUSICAL

-

CABINET CHRISTY'S SONGS-No. 4 contains Twenty of the most Popular Christy's Minstrels' 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, Lamotte, 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 1s. Boosey & Sons, Holles Street.

BOOSEY'S MUSICAL CABINET.

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POLKAS and

GALOPS. No. 7 contains Forty Polkas and Ten Galops (all with their trios), by Labitsky, Lanner, Laurent, Ettling, Gungé, Strauss, Nordmann, &c. Price 1s. Boosey & Sons, Holles Street.

BOOSEY'S
OOSEY'S MUSICAL CABINET.-OPERATIC
OPERATIC

MUSIC.-No. 8 contains Twenty-five Gems from Verdi's Operas. Arranged for the Pianoforte by Nordmann. Price Is. Boosey & Sons, Holles Street.

THE BALL-ROOM MUSIC-BOOK. Price 4s. superbly

THE

bound in crimson cloth, gilt edges, containing Fifty Waltzes, Forty Polkas, Ten 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.

3s.; Ascher's "Thou art so near," 3s.; Ascher's Dinorah, 3s.; Ascher's Les Vepres Siciliennes, 3s.; Ascher's Un Ballo in Maschera, 3s. Boosey & Sons, Holles Street.

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BOOSEY'S 100 VIOLIN DANCES, 18. (First Series); KUHE'S ROBERT LE DIABLE, published this day,

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 (including Dinorah, Satanella, Bohemian Girl, Maritani, Il Trovatore, La Traviata, &c.). Boosey's editions must be ordered. Holles Street.

Also, KUHE'S FANTASIAS on SATANELLA, DOMINO NOIR, ZAMPA, LES VEPRES SICILIENNES, 38. each. Boosey & Sons, Holles Street.

BOOSEY'S 100 DANCES for FLUTE, 18.; 100 Ope- FOR BEGINNERS-Thou art so Near, Solo and

ratic Airs, 1s.; 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, 1s. each, including Il Trovatore, Sonnambula, Les Huguenots, &c. Boosey & Sons, Holles Street, Manufacturers of Pratten's Perfected Flutes.

BOOSEY'S 25 DUETS for TWO CORNETS-A

PISTONS, arranged by THOMAS HARPER, price 1s.; Boosey's 100 Dances for Cornet-à-Pistons, Is.; Boosey's 100 Operatic Airs for Cornet-à-Pistons, 1s. Boosey & Sons, Holles Street.

BOOSEY'S 100 CONCERTINA DANCES, 18.; 100

Popular Melodies for Concertina, 1s.; 100 Sacred Melodies for Concertina, 1s., arranged by GEORGE CASE; Boosey's Concertina Tutor, 24 pages, large size, 1s. Boosey & Sons, Holles Street.

[EW ENGLISH DUET.—“Sweet is the dream," Duet Price 2s. 6d. Boosey & Sons, Holles Street.

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Printed by GEORGE ANDREW SPOTTISWOODE, of No. 10 Little New Street, in the Parish of St. Bride, in the City of London, at No. 5 New-street Square, in the said Parish. Published by Joux BOOSEY, at the Office of BooSEY & SONS, 28 Holles Street.-Saturday, September 29, 1860.

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