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Hall to hear the new society's admirable concerts, and must, perforce, have exercised considerable influence over the minds of all who could not, or would not, think for themselves; and these, as a matter of course, constituted the majority. That the little green book's opinions were not lightly estimated, was sufficiently proved by the fact that its commentary upon the "Ninth Symphony" was reprinted verbatim, as an original article, in the columns of one of our leading morning contemporaries. There was in this odd lucubration so much of the same kind of "steamy-beamy" element which distinguishes the "rhapsody' of Mr. "Aries le Fise Vascher," that we are forced into a sudden remembrance of what we should otherwise inevitably have forgotten. Mr. Vascher's "Rhapsody" is indeed a wonderful ebullition of mysterious poetry, and replete with a peculiar kind of truth "utterly at variance" with received ideas, and which, while common-place people do not profess to understand, it is still nevertheless permitted to admire. "The sublime edict of Pythagoras" looks remarkably well in print, and has an overwhelming sound; and we hope that we can appreciate that kind of joy which comes "like an appalling voice, speaking in thunder from Heaven," even though it may frighten us out of our senses. We also know the value of such grim mirth as finds vent in violent ebullitions and wild manifestations, in minor modes and broken rhythm. We have even felt inclined to associate this with the proceedings of operatic devils (who always, for some unaccountable reason, sing and dance with horrid glee whenever they get upon the stage), or the ravings of despair, rather than with an ode to true joy, breathing pure happiness and universal love. But the eloquence of our great "Aestheticker" coupled with " the sublime edict of Pythagoras," is too much for us, and, though unable (perhaps disinclined) to be corroborative, we will venture no uncourtly antagonistic opinion. The reasoning of Mr. "Aries le Fise Vascher" is quite equal to his imagination; nay, the very construction of his sentences carries with it a certain sort of conviction, whilst a thick stream of inscrutable poetry gushes from each well-selected word.

Is not the logic truly marvellous which shows us that Beethoven considered extreme joy a fitting theme for the loftiest poetical treatment, because it enabled him to employ the minor mode, protracted cadences, &c.? Are not the passages, also, very fine wherein the writer tells us that, whatever may be the merits of Schiller's poem, its triumph consists in its having originated a great musical work-and speaks of the measure of joy being so unlimited, and "of our being in love with the whole world," and inclined to caress every living and inanimate thing (tigers, serpents, polecats, and putrefactions included), "whilst all objects seem to be robed with a splendour born of delight, and emanating like rays from ourselves ?" Ordinary folk might imagine that if Schiller's poem contained every possible beauty, its author's greatest triumph would be found in his own work, rather than in Beethoven's music, they might also fail to discover with nicety the various degrees or limits of the unlimited; they might object to hug polecats, caress cobras, or kiss hyenas, whatever their state of happiness, or however bright "the rays emanating from themselves to robe objects with splendour." But, as we said before, this commentary is to be admired rather than understood by ungifted minds; and we must not set a thing down as bad, simply because it baffles our reason. We should be humble, and reflect that the fault may be in our own obtusity, made still more dense and rigid by stiff-neckedness.

PETIPACE OF WINCHELSEA.

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MR. BENEDICT'S Undine, one of the interesting novelties at the recent Norwich Festival, belongs to a style of art totally different from that which is exemplified in Herr Molique's Abraham, but is no less admirable in its way. Here we have the genial spirit and picturesque orchestral colouring, the light fancy and dramatic purpose which distinguish the best works of the so-called romantic school of which Weber was the head, if not the founder. La Motte Fouqué's story of Undine, which is the subject of Hoffmann's opera (so highly praised by Weber and Dr. Marx) has been slightly altered by Mr. John Oxenford, the author of Mr. Benedict's libretto; for Bertalda is here supposed to be a lady of rank, and not, as in La Motte Fouqué's tale, the daughter of a fisherman. This change has been made to gain a more complete contrast between the two female characters. Mr. Oxenford's version of the legend is, then, as follows: Undine, a water spirit, has left her home and her companions on account of her love for Hildebrand, lord of a castle on the banks of the Danube. Kühleborn, the principal kinsman of Undine, disapproves of this attachment, suspecting that the mortal lover will prove unfaithful. Nor are his suspicions ill founded, for Hildebrand no sooner returns to his castle than, regardless of Undine, he espouses a lady named Bertalda. To avenge the wrong thus done to his race, Kühleborn summons all the spirits of the waters, who destroy the castle and its owner, while the gentle Undine bewails the fate of her unfaithful lover.

After a picturesque and spirited overture in F minor and major, in which Mr. Benedict's genius as an orchestral writer is most strikingly exemplified, the "lyrical legend" (for so the authors term it) opens with a very ethereal and poeticallyconceived chorus of water spirits in D minor for female voices only, the words of which, by Mr. John Oxenford (whose libretto is indeed throughout a master-piece), we cannot refrain from quoting:

"FEMALE SPIRITS.
"Undine, Undine,

Sad without thee have we been.
Why hast thou left us, sister fair,
To dwell beneath a chilly sky?

We miss the glance of thy light blue eye,
We miss the flash of thy golden hair;
The foamy waves as they roll along,
Mingle a sigh with their ceaseless song,
They call thee back, Undine."

"

This is followed by a spirited and vigorous bass solo in G minor for Kühleborn"Love, a tyrant on the earth appropriately deep in colour and wild in character, bearing, moreover, the genuine stamp of the German romantic school from first to last. Mr. Benedict is particularly happy in music of that description. After a repetition of the opening chorus comes a full chorus in the key of D major, charmingly fresh, and joyous in expression:

"Storms may lash the waves to foam,
Scatt'ring death and terror round,
But we scarcely hear the sound
In our tranquil home,"

sing the water-spirits, male and female, to most appropriate music. We have described the above-named pieces separately; but it must be understood that they are all connected, and form together one symmetrical whole. This is succeeded by a recitative for Hildebrand and Undine, leading to a sparkling, sportive, and charmingly tuneful song and chorus in E flat (with harp, obbligato), in which Undine

first reveals to her lover that she is a spirit, in the following lines :

"UNDINE.

"Mark the waves that rippling play

Crown'd with silver light,

On each crest of glittering spray
Rides a joyous sprite.
Sportive Nixies yonder pass,
Tripping o'er the liquid glass.

Can'st thou not their form descry?
Know that such a sprite am I;
Wilt thou, dearest, from me fly ?"

An

An exceedingly graceful and purely-voiced trio in A flat, in which the lovers express their mutual passion, and Kühleborn betrays his suspicions of Hildebrand's constancy, leads to a highly dramatic scena for the tenor voice. The struggles between affection for the mysterious water-spirit, and the ambition of a warrior that can only be gratified by abandoning Undine, struggles which are now racking the bosom of Hildebrand, form the subject matter of the scena. opening recitative, (accompanied) leads to a sweetly flowing cantabile in B flat, in which Hildebrand dwells fondly upon the happiness he might have enjoyed with Undine. This state of feeling is, however, presently interrupted by the sound of a distant trumpet, heralding the approach of the noble Lady Bertalda, to whom Hildebrand is betrothed. His martial ambition now gains the ascendancy, and the scena terminates with a dashing and vigorous movement, perfectly expressive of the words and situation. It is followed by a melodious and graceful wedding march in G, which will doubtless become highly popular in its arranged form for the pianoforte.

The march is succeeded by a joyous and brilliant wedding chorus in E flat. Then come in immediate succession a highly effective aria in two movements for Bertalda, in the somewhat unusual key of B major, expressive of the lady's happiness and exultation, and a pretty little love duet in G major, for Bertalda and Hildebrand. Undine now comes to warn the happy pair, and her willingness to renounce Hildebrand if he will renounce Bertalda. Undine is agitated by the strife between love and pride within her breast, the haughty Bertalda affects to treat the strange intruder with scorn, Hildebrand is struggling between love and duty, while Kühleborn vows vengeance for the insult offered to his race. All these conflicting emotions are most truthfully and excitingly expressed in a powerfully written and thoroughly dramatic quartet in G minor; but even this is surpassed by the deeply poetical and picturesque finale in which Kühleborn invokes the aid of the water-spirits to destroy the faithless Hildebrand, his bride, his kinsmen, and the voice of Undine is heard faintly in the distance, after the destruction of Hildebrand's castle, mourning for her mortal lover.

when we state that Mr. Benedict has done ample justice The following are the admirable words of this scena; and to them, we believe that higher praise could scarcely be given :

"KUHL.

"Attend ye kindred spirits to my call,
Chieftains of the countless waters,

A mortal wrongs the fairest of your daughters,
And by his guilt insults you all.

"CHORUS.

"We hear thy call-we hear thy call, Through valley, mountain, grot, and hall.

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(A RHAPSODY.) BEETHOVEN had long cherished the idea of giving a musical expression to Schiller's Ode to Joy, a poem which, in glowinculcates a belief in the good, preaches the doctrine of ing and harmonious numbers, apostrophises Hope and Faith, universal brotherhood, and typifies the beauties of nature. Such a poem was just the one to impress Beethoven, and it won his entire admiration. merits, its great triumph-its greatest triumph-was that But whatever its intrinsic of having indirectly originated one of the noblest inspirations of the human mind. himself of a portion of the verses, which he set to music Beethoven not only availed as a finale to his colossal symphony, but gave the world his of surpassing beauty and grandeur. The first of these, in own notions of the subject, in three instrumental movements D minor, allegro non troppo, is the longest single movement known. Its style is passionate and sublime. Poetically regarded, it is an attempt to suggest, by musical sounds, that from some happy circumstance, the very sense of being is a vague and indefinable feeling which accompanies unbounded joy, when the heart, overflowing with exultation-when, delight that cannot be restrained when the measure of joy is so unlimited that we are in love with the whole world, and feel inclined to caress every animate or inanimate thing, when all the objects around us seem robed with a splendour not their own-a splendour emanating like rays from ourselves, and born of the delight that overwhelms us. In joy, as in sadness, when the heart is overstocked, the first desire is to impart to others what we feel; for the sublime edict of Pythagoras applies to both, and men must neither exult nor despair alone. Beethoven's development of this feeling is utterly at variance with the common

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The Operas.

places that pass for truth; the prevalence of the minor mode,
the mysterious character of many of the passages, the alter-
nations of calm and violent ebullitions, the broken and varied
rhythm, the long-protracted cadence, and the overpowering
magnificence of the climaxes, demonstrate that Beethoven
contemplated the extreme manifestation of the passion of joy
as a subject for the loftiest æsthetical development. The
knowledge he possessed of all the resources of the orchestra
enabled him to double the intensity and endow with stronger
contrast the fitful changes of expression with which this
movement abounds. The crescendos are so artfully managed
that they appear to be continually accumulating power until
The return
the full orchestra peals out in the fortissimos.
to the theme is appalling as a voice from heaven speaking
in thunder. The enormous difficulties of this movement are
dreadfully perplexing to the players, and should never be
attempted without careful rehearsal. To expect it to go
satisfactorily without would be preposterous. The scherzo,
also the longest movement of its kind ever written, is
in the same key as the allegro, D minor; but the striking
opposition of character obviates the monotony that would
otherwise accrue. The style of this scherzo is playful
and fantastic, and exhibits the same passion of joy, but

opens

In the second bar oca less wild manifestation of it. curs a curious development of a phrase in three-bar rhythm. The trio, by its flowing character, the alteration of rhythm from three to four, and the peculiarity of its instrumentation, offers a beautiful contrast to the scherzo. The adagio, the third and last of the instrumental movements, and of a different character from either, suggests a state of calm and unruffled happiness, in which joy and all the passions are at rest. The tender key of B flat lends itself easily to the soft delineations of orchestral colour, and of these Beethoven has made prodigious employment. The stream of melody is almost voluptuous, in the sinuosity of its outline, and the smooth unbrokenness of its measure. Nothing can be more soothing, beautiful, and tuneful. The finale, in which the chorus and solo voices are introduced, with a kind of recitative for the orchestra, where the violoncellos and basses officiate, so to speak, as the voice part. This conducts to a melody-allegro, in D minor-executed in unison by the same instruments, subsequently treated in three parts, and ultimately in full harmony for the whole orchestra. A recitative for a solo bass voice introduces a quartet and chorus in D, of which this melody constitutes the subject. A movement à la marcia, in B flat, 6-8 time, with triangle and side-drums, forms the subject of a tenor solo, which is afterwards developed as a full chorus: this is further elaborated through a masterly instrumental movement in the fugued style. The chorus in D is then resumed fortissimo, with a variation of florid passages in triplets for the orchestra. A chorus, maestoso, in G intervening between this and the second resumption of the chorus, is diversified by other devices of counterpoint and instrumental combination. Two choruses, in which the same words are treated with accumulating brilliancy, conclude this movement and the symphony.

-ARIES LE FISE VASCHER.

BLIND SCHOOL, ST. JOHN'S WOOD.-The pupils of this useful Institution gave an interesting Concert on Monday last, under the direction of their musical professor, Mr. Edwin Barnes. The programme included works of the highest class, among which we specially noticed organ solos by Haydn, Mendelssohn, Rinck, Handel, with choruses from Judas Maccabeus, Mr. Costa's Eli, and other works. The performance reflected great credit both upon the pupils and their instructor.

ROYAL ENGLISH OPERA.-The winter campaign may be said to have commenced in reality. Miss Louisa Pyne and Mr. W. Harrison have been the first to blow the trumpet at Covent nights after, and Mr. E. T. Smith on Monday next is expected to Garden. Dr. Wylde blew a faint blast at St. James's Hall a few blow trumpets enough, his own included, to batter down the walls of Jericho. The managers of the Royal English Opera have this year displayed extraordinary forbearance in issuing no prospectus, five years when perhaps it was never more needed, seeing that for the first time since they attempted to establish a national opera, bills and advertisements state no more than that Mr. Balfe has since, they have encountered a bona fide opposition. Even the tion." This unusual reticence on the part of the management written a new opera, and that "various novelties are in preparaimplies great dependence on present resources. No doubt a continuous success for Lurline is anticipated, and a revival of Satanella is looked forward to with confidence. Miss Louisa Pyne and Mr. W. Harrison are very tories in their administration. They are opposed to all change, and like to keep an opera as long as possible before the public, as thinking that an old friend is better the desire for novelty is supreme. In the good old days of Bunn than a new one. Unhappily this is the age of reformation, and and the Bohemian Girl at Drury Lane, the run of a hundred nights for an opera was considered necessary to a genuine success. These tory days are gone, and managers now must move with the times and be swayed by the feelings of the people. The success of Lurline last season was incontestable; but even that admirable If opera nowadays cannot expect to obtain a never-ending career, and run like works produced under the Bunn dynasty. Miss Louisa Pyne and Mr. Harrison attempt it, we think they will do so at their cost.

The season opened on Monday night. Lurline was the opera. The cast has undergone important changes from last season. Miss Leffler has been substituted for Miss Pilling in the part of Ghiva; Mr. Henry Wharton for Mr. Santley in that of the River King; Miss Albertazzi for Miss Fanny Cruise in that of Liba; and Mr. Grattan Kelly for Mr. George Honey in the Baron Truenfels. Miss Leffler (daughter to the late popular baritone, Mr. Adam Her voice is a mezzo soprano of charming quality, suffiPilling. Leffler) is a great improvement, in voice and singing, on Miss ciently powerful, and produced without the least effort. Her singing proves the good style and method of her masters, Signor Schira and Mr. Frank Mori. Miss Leffler made a decided hit, and created quite a sensation in the ballad "Troubadour enchanting," which was loudly and unanimously encored. An apathetic manner, listless even for the sacred concert-room, will doubtless vanish with experience. At present she is a very novice to the boards, and appears to have been taught nothing whatsoever. In not, to the favourite singer, Mad. Albertazzi) displayed a nice the small part of Liba, Miss Albertazzi (daughter, if we mistake voice and much feeling, and will no doubt be an acquisition. Mr. Henry Wharton has a high baritone of fair quality, and sings well in tune. He wants power and style. His most satisfactory performance was the air, "The nectar cup may yield delight," in which he was encored. Mr. Grattan Kelly is no improvement at all on Mr. George Honey, either as singer or actor. He does not appear to have appreciated the part of the Baron as intended by the poet. In addition to Ghiva's song and the Rhine King's air, encores were awarded to the drinking-song, "Take this cup of sparkling wine," sung by Miss Louisa Pyne and chorus; to the ballad, "My home! my heart's first home!" by Mr. Harrison; and to the unaccom panied quartette, "Tho' the world with transports bless me," by Miss Louisa Pyne, Miss Albertazzi, Mr. Henry Wharton, and Mr. Corri.

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The general performance was admirable, the band under Mr. Alfred Mellon's direction exhibiting their usual excellence. The overture was splendidly executed and loudly applauded. Of Miss Louisa Pyne and Mr. Harrison it is enough to state that they were in their best voice, and sang in their best manner. They were recalled separately at the end of the first act, and

received with thunders of applause. After the opera the national anthem was sung.

of

Lurline has been played every night during the week.

HER MAJESTY'S THEATRE.-The season for English and Italian opera commences on Monday next. Mr. E. T. Smith has issued a prospectus almost as important and longitudinous as that presented last season for the Italian Opera proper. For the first time we believe at any theatre in this country two distinct series operas in different languages will be given. The English lead the van and will inaugurate the season on Monday with a new romantic opera, entitled Robin Hood, the music composed by Mr. G. A. Macfarren, the libretto by Mr. John Oxenford. Could anything look more promising? If Mr. Macfarren and Mr. Oxenford do not produce between them a first-rate work, the public will be disappointed. Moreover, Mr. E. T. Smith has spared neither pains nor expense to ensure the new opera a success. The artists who will appear in it are Mad. LemmensSherrington, Mad. Lemaire, Mr. Santley, Mr. Parkinson, and Mr. Sims Reeves. Mad. Sherrington, we believe, is not quite a novice to the boards, having performed some years ago at one of the Belgian theatres. Of her vocal capabilities we need not speak in this place. Mr. Reeves, we are told, has a part that suits him admirably, histrionically and vocally. This is an essential matter, and we have no doubt that both poet and musician had our great tenor in their mind's eye when they put pen to paper. On Wednesday the Trovatore will be given in Italian with Mlle. Titiens, Mad. Lemaire, Signors Giuglini, Vialetti, Soldi, Mercuriali &c.

The list of names is much more formidable for the English than the Italian Opera. To the artists just mentioned we may add, among the sopranos, Miss Parepa, Mlle. Jenny Bauer, and Miss Allesandri (from the principal theatres in Spain and Italy; her first appearance in this country); among the contraltos, Miss Laura Baxter and Miss Fanny Huddart; among the tenors, Mr. Swift, Mr. George Perren, and Mr. Terrott; and among the basses, Mr. Rosenthal, Mr. J. E. Patey, Mr. Bartleman, and Herr Hermanns. Mr. Charles Hallé is the conductor, and Mr. H. Blagrove leader of the band.

The undertaking is curious and important, and may prove hazardous. We think it somewhat bold in Mr. Smith, after securing so capital an English company-one indeed, which almost insures success à priori-to engage an Italian company to interfere with that success. Mr. Sims Reeves, no doubt, is a powerful attraction, and he has a public of his own who will not be moved from him by any Italian allurements. But we cannot hide from ourselves the fact that an immense temptation is proffered to the public in being afforded the means of hearing Mlle. Titiens and Signor Giuglini at play-house prices. We hope that two audiences may be found for both operas; but we are inclined to think, taking all things into consideration, that the odds is in favour of the Italian.

THE SISTERS MARCHISIO.-Two young candidates for lyric honours, named respectively Carlotta and Barbara Marchisio, recently made their début at the Grand Opera of Paris in Rossini's Semiramide, as the Babylonian Queen and Arsace. The opera has been frequently repeated, and the success of the new artists chronicled by the entire press. At the first representations indeed, the impression they made was but partial, owing to their extreme timidity, more especially that of the soprano, Mlle. Carlotta, whose nervousness amounted to positive terror. A few performances, however, restored self-possession to both ladies, and the flattering rumours from Italy that heralded their advent to the French capital were more than confirmed by their subsequent performances. Although the voice of each débutante is spoken of in high terms of praise, and the artistic powers of both universally lauded, it is the ensemble singing of the sisters above all that seems to excite astonishment and delight. Even on the first night of their appearance when, as we have said, both were under the dominion of fright, their duo singing elicited the most rapturous praise from all the critics. "The sisters Marchisio," wrote the Ménéstrel, in allusion to the first performance of Semiramide, "were satisfied with singing the music of Rossini, in a manner so unctuous, so communicative, that the auditors felt spell-bound, and at the end the enthusiastic bis came from all mouths at the same time. Such was the effect of the adorable duo of the third act. The fact is that at a given moment the two voices of the sisters Marchisio are governed but by one soul, by one sentiment. For a long time we have heard nothing so completely harmonious, so full of an indefinable charm; and this alone, we repeat, would suffice to gain for them a high reputation, independent of any special vocal qualities." The sisters Marchisio, we understand, are about to pay a visit to England. We shall be happy to corroborate the unqualified eulogies bestowed on them by the Ménéstrel and other Parisian journals.

Provincial.

Bennett has accepted the offer of the Committee to become conLEEDS, Oct. 4.-(From our own Correspondent.)- Professor ductor of the Leeds Festival in 1861. I believe I am right in stating that the celebrated Professor is engaged in the composition of an oratorio to be produced for the first time on that occasion. "Such a work," says the Leeds Express, "from the pen of our gifted countryman, would be hailed with great satisfaction by all lovers of good music, and would draw hither connoisseurs_from every part of England."- The members and friends of the Leeds Madrigal Society celebrated its tenth anniversary in Bullivant's Refreshment Rooms at the Leeds Town Hall on Tuesday evening last. George Young, Esq. (honorary treasurer), presided, the vice-chairmen being Mr. Cooke and Mr. Burras, two of the oldest members of the society.-The Leeds Town Hall Concert Society inaugurated their winter season last Wednesday evening with one of the most brilliant and successful concerts ever given in Leeds. and Signor Vialetti. Signor Giuglini's first song, from Martha, The singers were, Mlle. Titiens, Signor Giuglini, Signor Valsovani, "M' appari," was rendered with impassioned energy and expreson. Mlle. Titiens followed in a vocal waltz, by Signor Arditi, in which she displayed the most brilliant execution and a magnificent, clear, ringing soprano voice. This was also re-demanded and resung. In "The Last Rose of Summer," nothing could possibly excel the pathos and heart-stirring tones with which this simple ballad was delivered by Mlle. Titiens, who pronounces English with great accuracy for a foreigner. The applause which followed the ballad "Tu m' ami" ("When other lips"), and, being encored, was almost deafening. Signor Giuglini was equally successful in sang the serenade from Rigoletto, "Le donna e mobille." At the commencement of each part Mr. Spark played a solo on the grand organ. Signor Vialetti sang the drinking song from Martha, and was unanimously encored. The concert closed with the celebrated "Miserere," from Trovatore, with both organ and piano accompaniments, and constituted an admirable finish to a very superior

MISS JOSEPHINE GOUGENHEIM.-This young actress, from the United States, whose services Mad. Celeste has secured for the Lyceum Theatre, and of whom report speaks in the highest terms, will make her debut next Monday in a comedy, by Dion Bourcision, and with a voice of unequalled purity. An encore was insisted cault, Esq., entitled The Irish Heiress. Although not a native of the States, Miss Gougenheim's professional career commenced on the American stage, where, at a very early age, she took the highest rank as an actress of leading comedy, both of the modern and the old school. Her range is, however, not limited to this higher region, and in domestic humour and pathos she follows in the footsteps of Mrs. Keeley, as in the more refined heroines she emulates the sprightly graces and impulsive vivacity of Mrs. Nisbitt, adding to them, however, a greater power of dramatic expression. If half what the native critics say of this young lady's abilities be true the American stage will have returned in her person a very large instalment of the talent they have so long borrowed from ours.

concert.

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DURING THE LAST 50 YEARS,

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CRYSTAL PALACE.-Mad. Clara Novello's second and last farewell performance came off on Saturday, when the Messiah was given. The audience was even more numerous than at the first concert on Wednesday, their numbers amounting to between fourteen and fifteen thousand. The execution of Handel's great work, on the whole, was not irreproachable. The band and chorus had had no rehearsals together, and did not go always as smoothly as Including many Works out of Print and the Plates of which have been might have been desired; and the organist, Mr. J. Coward, was now and then at fault from the same cause. Mr. Benedict, the conductor, did all in his power to achieve a perfect performance; and if his efforts could have tended to such a result he would have accomplished it. The managers of the concert, doubtless, conceived that as the entire interest would be absorbed in Mad. Novello's singing, it would hardly be worth while taking any extra trouble, or going to any extra expense. In that case, they should not have procured so large a choral and instrumental force, nor

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advertisements. To bring together such a phalanx was a waste of time and material, unless they were brought together for good purpose. The execution of the Messiah, we repeat, was by no means first-rate, a thing to be reprehended, the more so as it was within the possibility of accomplishment. On such an occasion, we are inclined to think it especially behoved the directors of the Crystal Palace to see that every pains was taken to ensure a satisfactory, if not a great, performance. That such was not attained was no fault of the soloists, all of whom not only sang their best, but were in the best condition to do so. Indeed, we do not remember to have heard the solos more admirably rendered than they were on Saturday by Mad. Clara Novello, Mad. Sainton-Dolby, Mr. Wilbye Cooper, and Mr. Santley. Of course complaints were made as usual by persons not being able to hear, even in the BOOSEY'S MUSICAL CABINET. A New Series of

reserved places; and we must own, that from block K K we ourselves were unable to catch, with any distinctness, the florid passages in "Every valley shall be exalted," and "Why do the nations so furiously rage together?" sung respectively by Messrs. Wilbye Cooper and Santley. This, we are assured, was no fault of the singers. The oftener we hear music in the central transept of the Crystal Palace, the more we are convinced it is not suited, in its present state, for the equable transmission of sound; and that, as a concert-room, the most radical alterations are imperatively called for. However, on Saturday, the visitors seemed to think little about acoustical properties, Handel's music, or anything except the fair songstress who sat before them for the last time, and who never again was to pour her divine warblings into their ears in the same place. Such considerations, indeed, were sufficient to stifle all grumbling and fault-finding, and to arrest attention to one point. The demonstration in favour of the artist was more intense than enthusiastic. The audience being for the most part composed of the gentler sex, precluded that vehement display and external ebullition of feeling, which must be sought for in other localities than in the Crystal Palace on special occasions. Mad. Novello, indeed, was received on her appearance with genuine warmth, and the thrill of admiration that went through the hearers like an electric-shock after "Rejoice greatly," "Come unto him," and "I know that my Redeemer liveth," was far stronger proof of the artist's power than the most boisterous acclamations. That Mad. Novello never sang more exquisitely, never sang with greater command of voice in every way, and with more faultless intonation, was the universal opinion. So perfect a performance, perhaps, has never been remembered at any former leave-taking by any singer. So perfect, indeed, that the expression involuntarily came to every tongue, "Why does Mad. Novello think of retiring into private life?" It is fortunate for those who were unable to attend the two farewell performances at the Crystal Palace, that further opportunities will be offered them of hearing Mad. Novello in London, before her final retirement. Her real last appearance in public will, we understand, take place in the metropolis.

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THEORY and HISTORY of MUSIC.

Early applications are recommended as of many of the Works only one or two Copies are left, and the whole Collection must be cleared off in the course of a short time." Hours of Sale from 10 to 4.

SHILLING BOOKS of VOCAL and PIANOFORTE MUSIC. - Eight Books are now ready.

OPINIONS OF THE PRESS:

"We had imagined that the extreme point in cheap music had long since been attained; but that we were in error is proved by the present publication, which consists of a series of shilling quarto volumes embracing the best music of the best composers at a price below anything yet published; admirable in typography, correct in the text, and as excellent a production as the musician could possibly desire, it is really a marvel of cheapness. In one volume we have twenty of Mendelssohn's songs; in another, twelve of Balfe's most popular songs; another embraces fourteen songs from Verdi's favourite operas; whilst another gives twenty of the Christy minstrel songs-so much for the vocal. The instrumental is no less extraordinary; for in one book we have fifty waltzes, chiefly by Laurent, Gungl, and Tinney; another gives twelve quadrilles, by D'Albert, Laurent, Nordmann, &c.; another, fifty polkas and galops; and another contains twenty-five of Verdi's gems for the pianoforte. Now, as all these are given at a shilling a volume, and as they are clear, distinct, and admirably printed, it is certainly an event in musical publishing, and will attract much attention, as it affords every musician an opportunity of having the best music at the smallest price."-News of the World, Sept. 30th.

"Eight numbers have been forwarded to us of a work, called "Boosey's Musical Cabinet," which is a perfect marvel of cheapness, and is, moreover, brought out in as good a style as if four times the money were charged. It will scarcely be believed that No. 1, price one shilling, contains twenty of Mendelssohn's songs, not a cramped printing of the mere melodies, or an arrangement of them for pianoforte or other instrument, but the actual songs, with English words, either original, as in the case of the setting of some of Byron's lyrics, or translations by Messrs. Desmond Ryan, John Oxenford, and George Linley, and with pianoforte accompaniment. The printing is clear, the paper is good, and the size convenient. No. 2 contains twelve songs by Balfe, including some of the settings of Longfellow; No. 3, fourteen by Verdi; No. 4, twenty of the Christy's Minstrel's songs; and Nos. 5, 6, 7, and 8 contain pianoforte music, thus assorted-fifty waltzes, twelve sets of quadrilles, fifty polkas and galops, and twenty-five favourite morceaux from Verdi's operas. Thus all tastes are consulted, and we can confidently predict for the Musical Cabinet' a great success."- Sunday Times, Sept. 30th.

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ISS SELINA PYKE (Pupil of Mr. CHARLES SALAMAN) begs to announce that she has RETURNED to TOWN, and has resumed giving LESSONS on the PIANOFORTE. Miss P. attends Schools and her Pupils westward twice a week.-52 Great Prescott Street, E.

ORGANS.

RGANS.-A Large Stock of Church Organs, varying
Bryceson & Fincham, Brook Street, Euston Road, London.
Terms, in consequence of dissolution of partnership. A detailed List on application.

MUSICAL

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ALMANACK FOR 1861 will be issued early in December, Price 1s. 6d. ; per post, 1s. 8d. Advertisements, Lists of Music, Names and Addresses of Professors and the Trade must be sent in before the 12th November, to Rudall, Rose, Carte, & Co., 20 Charing Cross.

G.

B. ALLEN'S New FANTASIA on "OBERON," composed expressly for and dedicated to Miss ARABELLA GODDARD, is now published, price 5s. by Duncan Davison and Co. 244 Regent Street, W.

MUSI

USIC TRADE.-Wanted, an ASSISTANT for the Country, one who can also Tune a Pianoforte tolerably. Apply by letter o E. Harrison, Regent House, Clifton, Bristol.

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