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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 - 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.

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Mr. PowELL, assisted by Junior Masters.

...Mr. WRIGLEY.

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SMons. ROGUier.
Mr. BEARD.

Mons. VIEUXTEMPS.
Mr. DONOVAN.
Mr. DOWLING.

Mr. RUSSELL.

:::} Mr. POWELL.

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Sergt. FARRELL. Mr. SQUIRE.

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

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

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

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

JUST PUBLISHED, RUDIMENTS of HARMONY

with Progressive Exercises. By G. A. MACFARREN. Price 7s. 6d. Cramer, Beale, & Chappell, 201 Regent Street.

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BUCKLEY'S AMERICAN MELODIES.

'D CHOOSE TO BE A DAISY," as Sung by the Buckley Serenaders, aud all their Copyright American Melodies, are just published by Messrs. Hopwood & Crew, 42 New Bond Street, London, W. The Original and Celebrated Buckley Serenaders and Miss Julia Gould (from 585 Broadway, New York, U.S.) will make their First Appearance in London at the St. James's Hall, Piccadilly, on Monday Evening, 15th October. Stalls, 38.; Area, 2s.; Gallery, Is. Places may be secured at the Libraries, Music-Sellers, and at Mr. Austin's, Ticket Office, 28, Piccadilly.

LONDON ORCHESTRAL ASSOCIATION

JAMES PECH.-The Orchestral Meetings for the Season 1860-61 will commence on Wednesday Evening, the 10th October, at 8 o'Clock, when the punctual attendance of Members is requested. 12 Moorgate Street. GEO. EMDEN, Hon. Sec. Amateurs desirous of joining the Association can do so at the Rooms any Wednesday Evening, from 8 to 10, or daily, on application to the Hon. Secretary.

NEW

EW ORGAN MUSIC.-LEFEBURE-WELY'S SIX OFFERTOIRES. Op. 35. Edited by WILLIAM REA. 3s. to 5s. each. HENRY SMART'S ORGAN PIECES, introductory to the characteristic difficulties of the Instrument. Nos. 1 and 2, each 3s. 6d. London: Ashdown & Parry, 18 Hanover Square.

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"THE HARP OF WALES."

Sung by Mr. SIMS REEVES,
COMPOSED BY BRINLEY RICHARDS.

Price 2s. 6d.

"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 Telegraph.

"I

NEVER KNEW HOW DEAR THOU WERT.” New Song, by H. K. MORLEY, composed expressly for and sung by Miss LASCELLES (the Poetry by CATHErine Warfield) is just published, price 2s. 6d., by Duncan Davison and Co. 244 Regent Street, W.

TALLIOT GALER'S NEW SONGS, composed expressly

for him by W. MEYER LUTZ, are just published, viz. :-" Under the Linden Tree" and "Merry little Maud," price 2s. 6d. each, by Duncan Davison and Co. 244 Regent Street, W.

The Harp of Wales, beautifully sung by Mr. Sims Reeves, was unanimously "I

redemanded."-Morning Post.

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

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

London: DUNCAN DAVISON & Co., Dépôt Géneral de la Maison Brandus, de Paris ; 244 Regent Street, corner of Little Argyll Street, where may be obtained"THE SULIOTE WAR SONG," sung by Mr. Santley, price 38. "THE BLIND MAN & SUMMER," sung by Miss Palmer, price 2s. 6d. "ETHEL," Romance for the Pianoforte, price 28.

"LEOPOLD," Mazurka Favourite, price 2s.

Composed by Brinley Richards

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NEW

"I LOVE YOU," sung EW SONGS by BALFE. Mr. SIMS REEVES with such immense success at Mr. Martin's (Exeter Hall), Mr. Lindsay Sloper'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 Vaucheran'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 Regent Street, corner of Little Argyll Street, W.

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SCHLOESSER, Sung with immense applause by Mad. LEMmens-SherringTON, is published, price 2s. 6d. by Duncan Davison & Co. 244 Regent Street, W.

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EYERBEER'S FOURTH MARCHE AUX FLAMBEAUX ("Royal Wedding March "), composed in honour of the Marriage of the Princess Royal of England with Prince Frederick William of Prussia, which was played with such immense effect by the Band of the Guides at the Fête of the Orphéonistes at the Crystal Palace, is published for the Pianoforte, price 4s., by Duncan Davison & Co., 244 Regent Street, London, W.

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OD SAVE THE QUEEN," for Four Male Voices, as sung by the Choir of 3000 FRENCH ORPHEONISTS, at the Fêtes given in the Crystal Palace, Sydenham, arranged especially for them by CAMILLE DE 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 GEORGE B. ALLEN, is now published, price 2s. 6d. by Duncan Davison and Co. 244 Regent Street, W.

NEW

[EW SONGS by EMANUEL AGUILAR.-“SYMPATHY," poetry by ELLIS BELL, dedicated to Signor FERRARI, price 28., and" IN A WOOD ON A WINDY DAY," poetry by ACTON BELL, dedicated to Miss GRACE LINDO, price 38., 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. 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."—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.

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FOR EVER AND FOREVER Sng written by

JERROLD.

From the Illustrated News: "Tennyson's exquisite lyric has been as exquisitely set to music by Mrs. Jerrold."

From the Illustrated Times: "The charming little poem of The River' has inspired Mrs. Blanchard Jerrold with a very beautiful melody which will henceforth be associated inseparably with Tennyson's words. The air is gracefully harmonised, and, altogether, this is one of the happiest musical illustrations' of Tennyson that has been produced."

London: Boosey & Sons, Holles Street.

THE PEOPLE'S PHILHARMONIC CONCERTS,

Exeter Hall.-Arrangements have been made with the Committee of Management of the above spacious Hall to establish a series of GRAND VOCAL and INSTRUMENTAL CONCERTS for the PEOPLE at popular prices. It is proposed to set apart the following evenings in each week for such a purpose, viz., Mondays, Wednesdays, Thursdays, and Saturdays. The Directors of these Concerts are particularly anxious to make them essentially educational and in every way suitable and acceptable to the advanced musical taste and feelings of every class of society, and especially to the great industrial masses of the community. The programme each evening will be devoted partly to the best works of the great masters-Mendelssohn, Beethoven, Mozart, and others, and partly to compositions of a lighter and more miscellaneous character, such as grand operatic selections and overtures in the various German, Italian, French, and English Schools; added to which will be reproduced, for the first time these last 20 years, the most elegant compositions of those recherché writers of dance music-Strauss, Labitzky, Lanner, and Musard. An especial feature in these Concerts will be the performance of an Oratorio on each Wednesday evening in a style of the utmost completeness. The services of a Band and Chorus of 300 have been secured, and negotiations are also pending with some of our best vocalists and solo instrumentalists. Conductor, Dr. JAMES PECH. The prices of admission have been thus arranged:-Stalls, 4s.; Reserved Seats, 2s.; while upwards of 1,000 seats have been allotted at 1s. There will be no extra charge for booking stalls or reserved seats. In conculsion, the Directors confidently hope that this effort will enlist the sympathy and merit the approval and patronage of the people at large.

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THE NORWICH MUSICAL FESTIVAL.

(From our own Correspondents.)

NORWICH, Sept. 22. THE 13th Triennial Musical Festival of Norfolk and Norwich has fully maintained the right of the East Anglian capital to rank among the most eminently musical cities of Great Britain. The successful production of two new works of pretensions like Herr Molique's oratorio of Abraham and Mr. Benedict's cantata -or, as the composer styles it, "lyric legend"—of Undine, would alone have sufficed to commemorate the present anniversary as one of the most remarkable since the birth of the festival. It is by such bold and enterprising policy that the Norwich music-meetings have been able to preserve their ascendancy, and keep up a fair show of rivalry against all competitors, not excepting even the formidable assemblages at Birmingham. We cannot but think that one new oratorio for the morning, and one new cantata, symphony, or other important composition for the evening, should be provided on every great occasion. The remaining performances might be exclusively devoted to acknowledged masterpieces, in the presentation of which no risk whatever is incurred. This is not the first time by many that Norwich has set so good an example. Its motto would seem to be "Nothing venture, nothing gained." By similar enterprise Birmingham got Elijah; and though a second Elijah is not probable, it is, at the same time, not impossible. Mr. Benedict, conductor of the festival, has always been an advocate for the introduction of novelty into the programmes; and here, as elsewhere, he enjoys the hearty co-operation of Mr. Roger Kerrison, one of the hon. secretaries, the most active, zealous, indefatigable member of the Committee of Management, of which the Earl of Albemarle and Dr. Copeman are chairmen, Messrs. Kellett Long and Hay Gurney sub-chairmen, Mr. F. J. Blake treasurer, and Messrs. Kerrison and J. B. Morgan hon. secretaries -altogether an intelligent and thoroughly efficient working body. The very inconvenient hour at which the express leaves for London from this ancient and thriving, but to all intents and purposes out-of-the-way city, acts as a stumbling-block in the path of those whose duty it is to forward daily reports of the festival performances. The oratorios terminate on the average about 3 p.m., and the last train by which parcels can reach the metropolis on the same day starts at 3:20. Cathedral towns are not invariably prone to expeditious liveliness in the matter of communication with other parts of the world. Some of them rather discourage than promote frequent and easy intercourse with strangers, and seem to regard the encroachments of commerce and manufactures with suspicion. But Norwich has never been envious of the reputation of a dull cathedral close, a snug roosting-place for Dean and Chapter, a lounge for fat prebendaries, lay clerks, and minor canons. On the contrary, although with some 40 churches, to a population not far exceeding 60,000, it has an eye to business, and is generally looked upon as a shrewd and bustling town. But even from Worcester, Hereford, and Glocester, there is a late "express" at a practicable hour; and, while Glocester may transmit lamperns and Severn-salmon up till 5 p.m., not a Yarmouth bloater, much less a musical report of the festival, can leave Norwich for London after 3.20. Whether the fault lies with the railway companies, two of which are tributary to the Wensum and the Yare, or is due to the apathetic indifference of the inhabitants of Norwich, Yarmouth, and Lowestoft, we are not in a position to say. Under the circumstances, just as a "bird's-eye" view of the city of Norwich was taken the other day from the end of Castlehill, so a "bird's-eye" retrospect of the performances hitherto unnoticed must be taken from the end of Festival-week.

The most important feature at the second evening concert was Professor Bennett's May Queen, which was quite as successful as at Worcester, and even better executed. Had it been his own composition, Mr. Benedict could not have taken more pains to secure a correct and effective performance. Almost for the first time in our remembrance all the choruses were well rendered, not excepting even "O melancholy plight" and "Ill-fated boy." To dilate upon the perfect manner in which the music of the May Queen, the Lover, and Robin Hood was delivered by Mad. Novello, Messrs. Sims Reeves and Weiss would be merely a repetition of the praises bestowed on their joint achievements at Wor

cester; we have only, therefore, to pass a word of unqualified commendation upon Miss Palmer, who gave the contralto music of the Queen of England with an emphasis and dramatic expression which left nothing to desire. This charming pastoral has now been performed at four of the great provincial music-meetings (Leeds, Glocester, Worcester, and Norwich); it is already, we understand, set down by Mr. Townshend Smith for Hereford next year; and when Mr. Costa has introduced it at Birmingham and Bradford it will, to use a quaint but not inappropriate phrase, have "achieved the nimbus"-in other language, made the cir cuit of the Festivals. At the same concert the foreign Operasingers appeared and again won laurels :-Mlle. Titiens in "Non mi dir; " Mad. Borghi-Mamo in the romance from Otello (harp, Mr. Trust); Signor Giuglini in "M'appari, tutt'amor;" Signor Belletti in an air from one of the Italian operas of Buononcini (Handel's rival in London-the lesser hero of Swift's "Tweedle-dum and Tweedle-dee"); and the four "ensemble" in the graceful quartet, "Buona notte," from the second act of M. Flotow's Martha, which last was redemanded. There was a regular shower of ballads-Mad. Weiss, Miss Palmer, Messrs. Sims Reeves, Wilbye Cooper, and Santley, each contributing a specimen-all of them well sung, but only two-Mr. Wallace's "Bell-ringer," and Mr. Macfarren's "Ah! why do we love?" (Mr. Santley and Mad. Weiss)-possessing intrinsic merit. There were also excerpts from the Worcester Festival, in the shape of the eternal "Robert, toi que j'aime" (Mad. Novello), the quiet duet from Пl Flauto Magico (Mr. and Mad. Weiss), &c. Mr. Pierson had another part-song"To arms"-not so vigorous and spirited, perhaps, as Ye mariners of England," but sung by the chorus with equal energy, and applauded by the audience with almost equal vehemence. Mr. Pierson is from Norfolk, we believe; but whether this or the patriotic tone of the words selected for his part-songs had most to do with the remarkable success obtained by both of them we cannot pretend to decide. They are certainly meritorious, but their merits seemed hardly commensurate with the plaudits elicited. Annexed are the words of "To arms!"

"Our swords we'll unsheath for the glorious strife,
And our oath is recorded on high,

To prevail in the cause that is dearer than life,
Or crush'd in its ruins to die.

Then rise, fellow-freemen, and stretch the right hand,
And swear to prevail in your dear native land.
""Tis the home we hold sacred is laid to our trust-
God bless the green isle of the brave!
Should a conqueror tread on our forefathers' dust
It would rouse the old dead from their grave.
Then rise, fellow-freemen, &c.

"In a Briton's sweet home shall a spoiler abide,
Profaning its loves and its charms;
Shall a foe dare insult the lov'd fair at our side?
To arms! oh my country, to arms!
Then rise, fellow-freemen, &c.
"Shall a tyrant enslave us, my countrymen? No!
His head to the sword shall be given;

A death-bed repentance be taught the proud foe,
And his blood be an offering to Heaven.

Then rise, fellow-freemen." &c.

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The second and third lines of the last stanza may be somewhat difficult to reconcile; but the sentiment, which, after all, was the important point, enlisted the sympathies of every hearer. An English Weber to set our patriotic songs in chorus would not be unwelcome just now. Some instrumental solos agreeably relieved the vocal programme. M. Sainton, on the violin, played his own fantasia on Lucrezia Borgia with wonderful fire and brilliancy; Miss Arabella Goddard and Mr. Benedict gave Mr. Osborne's duet on the Huguenots for two pianofortes, with entire success; and the lady selected as a solo the universally popular "Home, sweet home," of which a local paper (the Norfolk News) speaks in the terms subjoined :

"Arabella Goddard also sang 'Home, sweet home,' not to, but upon, the pianoforte, for it was literally singing, with the addition of Thalberg's miraculous accompaniment. Nothing would satisfy the audience but an encore, when she favoured them with The last rose of summer.'

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This lady's execution, perfect and astonishing as it is, is not so great a charm as the soul with which it is animated."

The second part of the concert was to have begun with Haydn's symphony, No. 5, and to have terminated with Weber's overture to Der Freischütz; but, by some unexplained process, Haydn's symphony was metamorphosed into Weber's overture (a lamb into a lion) and Weber's overture to Bishop's "Tramp" chorus (a lion into a mouse). We presume that at the eleventh hour the programme was found too long. Nevertheless, the changes should not have been made without a word to the audience; and, as a short speech from Mr. Benedict-who is idolised at Norwich just as Mr. Costa is idolised at Birmingham and Professor Bennett at Leeds-never fails to be well received by the audience, a short speech would have been a graceful condescension on this occasion. At the third and last evening concert Mr. Benedict's Undine was produced with unequivocal success. The following outline of the story-altered and compressed from a carefully-made analysis of the different pieces comprised in the Festival programme-may serve to afford the reader a tolerably correct notion of what Mr. Benedict has so happily set to music :—

"Undine, a water spirit, has left her home for the sake of Hildebrand, lord of a castle on the banks of the Danube. Kühleborn, kinsman of Undine, disapproves her attachment, suspecting that the mortal lover will prove unfaithful. Nor are his suspicions ill-founded, for Hildebrand no sooner returns to his castle, than, forgetting Undine, he espouses a lady named Bertalda. To avenge this slight to his race, Kühleborn summons the spirits of the waters, who destroy the castle and its owners, while Undine bewails the fate of her lover. In order to render the contrast between the two female characters complete, Bertalda is supposed to be a lady of rank, and not, as in La Motte Fouqué's tale, the daughter of a fisherman. After an instrumental prelude the cantata begins with a chorus of water spirits, bewailing the loss of Undine. This is interrupted by a bass solo for Kühleborn, who explains the cause of her absence. The burden is then taken up again, and the whole concludes with the antiphonal chorus, describing the life of the Naiads

"Ancient Nereus' daughters, Who, free from care and strife, In their sparkling grottoes dwell, Listening to the Triton's shell"

in which (for the first time) men's voices are introduced. A colloquy, in recitative between Hildebrand and Undine is succeeded by an air for the latter, explaining to her lover the supernatural attributes that may probably one day deprive her of his affection, and accompanied by a A short trio between the chorus of invisible spirits for women's voices.

lovers and the incredulous Kühleborn conducts us to a scene and air for Hildebrand, who dwells on the happiness he would have found with Undine, in a slow movement. A march heard in the distance, announcing the arrival of Bertalda, however, changes the course of his reflections, and in an 'allegro' he expresses his determination to free himself from the trammels of ignoble repose, and following his destiny henceforth lead the life of a knight and hero. The march, which had been faintly heard during Hildebrand's air, now approaches. Bertalda arrives, and is hailed with an epithalamium. In an air she describes her anticipations of happiness as future mistress of the castle; and this leads to a short duet in which Bertalda and Hildebrand exchange mutual words of affection. Undine, however, suddenly appears, and a quartet ensues, in which the water spirit in despairing accents announces her willingness to renounce Hildebrand, if he, on the other hand, will abandon Bertalda: while Bertalda treats the unwelcome intruder with scorn and contempt, Hildebrand himself is divided between a feeling of remorse and his love for Bertalda; and Kühleborn vows vengeance for the insult. The quartet gives way to a bass air, with chorus of ocean spirits, who, at the summons of Kühleborn, bring death and destruction upon all the inmates of the castle. Undine is then carried away by her companions, bewailing the fate of her lover, and lamenting that her immortality prevents her from sharing it. The sound of her voice grows fainter and fainter, till at length, as she gradually retreats to her watery home, it melts into silence, and the 'cantata' terminates. Her parting words are worth quoting:

"Bright green earth, farewell, farewell.
Now I seek my distant cell,
There, beneath the waters deep,
O'er my short-lived joys to weep,
For in death I may not sleep,
Thou art happier far than I,
Dearest, would that I could die !"

The libretto of Undine is in its way perfect. Not only is the tory well conducted, but the ideas are poetical and the versifica

tion admirable. Mr. Benedict has set it to music con amore. He must, indeed, have been enamoured with his subject, or he could not have illustrated it so felicitously. The overture is a masterpiece of fairy music, as delicately instrumented as it is beautifully conceived. The opening chorus of naiads (or "nixes," or "daughters of old Nereus"- -or what we will), and all that follows in the scene with Kühleborn is highly picturesque, the whole possessing, moreover, the unusual merit of being an imitation neither of Weber's Oberon nor of Mendelssohn's Midsummer "Mark the waves that rippling Night's Dream. Undine's song, play" (of which we are loth not to reprint the words), is just such a graceful inspiration as one might imagine would flow from the lips of the water-nymph-that is, supposing her to be a songstress, like Weber's pet mermaid. The little trio (a round, or canon), for Kühleborn and the lovers, keeps up the spirit of what precedes it, and clearly marks the distinction between the various personages. The next scene, in which Hildebrand's apostrophe to Undine is interrupted by the arrival of Bertalda (announced by the march-a capital march, by the way), and the tender strains of the ballad, "From worldly cares and toils afar," give way to the energetic war song, "Loud sounds the trumpet," is as vigorously imagined as it is artistically executed; the wedding-chorus "Hail to the noble pair," appropriately jubilant and exhilarating, is well carried out by Bertalda's air "The baron's old castle looks proud and bright," in which the haughty maiden exults in the dream of her approaching destiny. Though brief and unpretending, the duet between bride and bridegroom"Happy day"-is not the less engaging; while the quartet that succeeds it, in which the conflicting emotions of Undine, Bertalda, Hildebrand and Kühleborn are portrayed-is not merely an ingenious composition in an abstract musical sense, but exhibits that power of contrasting while combining-making an harmonious whole, in short, out of conflicting parts-which is one of the rarest and most enviable gifts in a composer. The finale, involving the vengeance of Kühleborn and the destruction of Hildebrand and Bertalda, is of a piece with the rest, as dramatic and forcible as anything in the cantata. The performance of Undine was such as to confer honour alike upon chorus, band, and principal singersMad. Novello (Undine), Miss Palmer (Bertalda), Mr. Sims Reeves (Hildebrand), and Mr. Weiss (Kühleborn)—who all did their utmost to show their high esteem for the conductor of the Norwich Festival, and to ensure an adequate appreciation for his new work. We cannot enter into details, but must especially mention Mad. Novello's sweet warbling of the delicious melody, "Mark the waves that rippling play;" Miss Palmer's excellent singing of Bertalda's air; the spirit and energy that distinguished Mr. Weiss's delivery of Kühleborn's solo about "love;" and the superb declamation of Mr. Sims Reeves in the war-song of Hildebrand, which was the more remarkable from its immediate contrast with the amatory effusion (the apostrophe to Undine) that goes before. Had Mr. Benedict wished to provide Mr. Reeves with an opportunity of displaying his equal excellence in two styles essentially opposed to each other he could hardly have written anything more to the purpose. Last not least, the execu tion of the overture by the band cannot be too unreservedly eulogised. Orchestral playing more delicate and subdued, and at the same time more nicely distinguished for the accurate observance of light and shade, has rarely been heard. The cantata was rapturously applauded, and at the end Mr. Benedict was called for unanimously and greeted with an enthusiastic demonstration.

The remainder of the concert does not call for many words. Among the vocal features were "Qui sola, vergin rosa," which, on being encored, Mlle. Titiens metamorphosed into "The last rose of summer;" a romance by Mercadante, which Signor Giuglini is accustomed to interpolate in Lucrezia Borgia, and which he was now compelled by general desire to sing twice; Hoel's romance in Dinorah (act iii.), which no one sings more admirably than Mr. Santley; "Batti, batti," by Mad. Novello, with Signor Piatti at the violoncello, a faultless combination of voice and instrument, as may be readily divined; "O mio Fernando" (La Favorita), Mad. Borghi-Mamo's execution of which needs no eulogy; the florid air from Il Seraglio, given by Signor Belletti better, if possible, than at Worcester; two new ballads, "The

winds that waft" (Wallace) and "The slave's dream" (Weiss), both so well sung, the first by Mr. Wilbye Cooper, the last by Mr. Weiss himself, that the maxim (recently enforced by circumstances), "In the multitude of ballads is not music," did not present itself to the mind; Spohr's delicate romance of the Rose (Azor and Zemira), by Mad. Weiss; "Come into the garden, Maud," which, in spite of the emphatic demand of the audience, the discreet Mr. Sims Reeves could not be prevailed upon to repeat; the sparkling "brindisi" from Lucrezia, by Mad. BorghiMamo, and two duets, one from the Trovatore (by Mad. BorghiMamo and Mr. Sims Reeves), the other from Il Turco in Italia (by Signor Belletti and Mr. Santley, both sung to perfection, both unanimously encored, but the first only repeated. The instrumental displays were the overture to Guillaume Tell, by the band; Ernst's enormously difficult fantasia on the march and willow-song in Otello, by Mr. Blagrove; and the variations and finale of Hummell's celebrated Septet for pianoforte (Miss Arabella Goddard), flute (Mr. Pratten), oboe (Mr. Barret), horn (Mr. Charles Harper), violin (Mr. Sainton), viola (Mr. Webb), and double-bass (Mr. Howell)-all first-class performances, and the last so well received by the audience as to justify the belief that Hummel's fine work might safely have been presented without curtailment, at the expense of two or three sentimental ballads which no one would have missed. St. Andrew's-hall was "crammed to suffocation" (sic), and in consequence of almost everybody being either encored or summoned back the duration of the concert was protracted until midnight.

his direction.

The Messiah need only be named. All the principal singers took part in it-that is all the English singers, the foreigners (Titens, Borghi-Mamo, Giuglini, and Belletti) have taken their departure. With all respect for those accomplished artists, we must add that every one was satisfied: for that no singers understand the music of Handel, and especially of Handel's Messiah, so well as our own, cannot, we think, be denied. Had there, however, been a doubt on the subject, it would have been set at rest on this occason by Mesdames Novello and Weiss, Miss Palmer, Messrs. Sims Reeves, Wilbye Cooper, Santley, Weiss and Santley, who one and all sang their very best. Messrs. Cooper and Santley had comparatively little allotted to them, but with this little they took as much pains as though the entire weight of the oratorio had rested on their shoulders. The choruses were superb, the stupendous "Hallelujah," to which the audience rose, producing an effect difficult to portray, and still more difficult to forget. The band was to match: and the conductor, Mr. Benedict, may comfort himself with the reflection that one of the grandest perfomances ever heard of the sublimest of all oratorios was given under The ball in the evening was a splendid affair. All the beauty of Norfolk (and Norfolk enjoys a great repute in that respect) seemed to have assembled there as an appointed rendezvous. There were upwards of 400 dancers and about 500 lookers-on in the galleries. The hall was brilliantly lighted, and dancing was kept up, to the animating strains of Mr. Weippert's excellent orchestra, until "the small hours" were merging into bigger ones, and daylight began to pale the illuminated windows of St. Andrew's Hall. It is calculated that the receipts of this festival will, after some expected donations have come to hand, exceed those of 1857 by nearly 1,000l., so that the "guarantees" may button up their pockets without the risk of being accused of stinginess; and although the expenses are stated to be considerably above 4,000l., the charities must get something worth accepting. The inhabitants of Norwich have bestirred themselves on this occasion with more spirit than usual. The Mayor (Mr. J. H. Tillett), among others, by his personal example and assistance, has contributed materially to the successful result. Having expressed a wish that the advantage of hearing some good music should be extended to the humbler classes, he has been able to make arrangements with the architect to restore the galleries which which were removed for the ball, and on Monday and Tuesday he intends to give a musical treat to the school children of Norwich. The members of the Norwich Choral Society, greatly to their credit, have offered their gratuitous assistance; and Dr. Buck, to whom the noted efficiency of the cathedral services in Norwich owes so much, has consented to preside at the organ. It is expected there will be about 2,500 children to each performance.

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The policy of introducing new works is not henceforth likely to be questioned after the success of Abraham and Undine. And now that the festival is over, it only remains for us to thank Mr. Roger Kerrison, in the name of the London press, for his unceasing courtesy and politeness, and to congratulate Mr. Benedict not merely upon the deserved success of the musical performances, but upon the admirable organisation which allowed every wheel in the machinery of this immense undertaking to move freely, and to do its work efficiently. With such competent assistants and “devanciers," as Mr. Harcourt (organist), Mr. Bray (leader at the rehearsals). Mr. T. F. Hill (chorus-master), and-why should his name not be added, since without a librarian there would be no music, and without music there could be no festival?-Mr. Goodwin, the labours of the conductor were materially lightened, and the efficacy of his ultimate superintendence made doubly efficacious.

NOT MERELY GIFTED, BUT CONSCIENTIOUS. Mad. Novello as she always does, took infinite pains, and with great beauty of tone, and that polished elocution and faultless execution which has made her an example worthy of the imitation of all rising professors. Whatever Mad. Novello undertakes to do, whether for the pleasure of the most illustrious, or the least elevated, she always has regard to the honour of the art, and of the composer whose work she is the exemplar, and of her own great fame. Mad. points; important not only as regards the credit of the artist inNovello never loses sight of these, as we conceive, most important dividually, but as regards the character of a profession which Mad. Novello adorns and elevates in every relation of life, as well as by her great intellectual ability and highest musical attainments. And it is the loss of these at a time when all these powers are in their vigour, which deepens the regret at hearing that this is the last occasion when all these attributes and acquirements are to confer upon those who admire such powers, such pleasure as Mad. Novello produces. To listen to her rich and liquid tone, so pure and bright, is of itself intense pleasure. It is, however, decided as that Clara Novello is soon to be no more heard by the public. Those who look at this determination as more than a mere passing thought, will see that the same admirable good sense and apprehas ever adorned the wonderful art of whose beauties she underciation of her fame as one of the finest of English vocalists that cision to retire. When she has retired she will leave behind her took to be a demonstrator, has guided Mad. Novello in the derecollections of her cultivated powers that in no way indicate, that "The brightest and the dearest,

All that's bright must fade."

But that she retires with her laurels as unfaded, and her intellectual and vocal powers as versatile and as unrivalled as she herself could desire them to be in the memory of the living, and in the universal records of her time. This Festival may be her last in Norwich, we hope it will be "her blithest," and that Countess Guilichi will long adorn her name and her happy home with those who are to her dearest and best beloved.-Norfolk News.

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