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this is curious. After all, what is meant by "nationality," "difference of schools," " English music," "French music," and "originality?" These fine deceptive words and imaginary distinctions can be of no use to the true progress of art, but rather tend to retard it. The aim of an artist should be to be great and not national. Nationality in art means absolutely nothing. A work, to be great, must speak in the voice of universal and immutable truth to the higher soulqualities and sympathies of mankind which are the same everywhere. It cannot be circumscribed or bounded in its movements; it scorns the fetters of space or time. The only national feelings recognised in matters of art is that evinced by a people who support a native artist when he has produced a fine work, of which they feel proud, and which adds to the glory of the country. The "difference of schools" consists in nothing but the relative amount of fine qualities possessed by different writers. One is conspicuous for one fine quality; one for another; while the greatest works possessing all the fine qualities are universalof all schools and of no school. Originality and individuality of style in a work of art, when it exists, springs less from studiously avoiding the works of other writers, as some have asserted, that from having studied them all deeply. Originality is nothing but the faculty of comb'ning and throwing into new forms the materials with which the head is stored, and the images and impressions which the mind has received from the study of great works. Individuality of style should be termed universality, since it is nothing but the faculty of combining the most striking points of every work we have studied, and throwing them into new forms. Without all this it would be possible to produce something "very original," but certainly not a work of art, as all experience demonstrates. We have said there is a right feeling amongst our young composers, which must inevitably lead to great results; but we are afraid there is a very bad one amongst those persons whose duty it is to foster and encourage their genius. Let us not be supposed to join the "native talent" cry, which we consider ridiculous and calculated to do more harm than good. An artist is not to be upheld merely because he is English, but because he is eminent in his art; if he cannot stand his ground against foreign writers, then let foreign writers have the preference. We ask for justice, not favour. It cannot be urged that there is any want of encouragement on the part of the public, for, whenever any work by an English writer is brought before them, they receive it generally better than it deserves. No; the true enemies to the progress of music in England are chicanery, ballad-mongering, and conventionalism, of which more anon.

writers for the million? Those small ephemora who are called into existence by a momentary ray of sunshine, soon to be withdrawn, or those whose works go down to the remotest posterity, and are the delight of all ages? Which of these are the writers for the million? Whose works gratify and instruct the greatest number? The true writers for the million are Handel, Bach, Mozart, Beethoven, &c., and the writers for the few are so called popular men of the day. But " we must have tune," say the "friends of art." Most true; but let not the necessity of writing popular tunes be offered as an excuse for the display of artistic ignorance and vulgarity of mind. What tunes are more popular than those of Handel, Haydn, Mozart, Beethoven, Rossini, Weber, Auber? But in these writers we have tune united to profound knowledge and elegance of expression. The progress which music has made of late in this country must be highly gratifying to every true lover of art. The progress it has made, in spite of the ignorance and ballad-mongering prejudices of publishers and theatrical managers-in spite of the exclusiveness of certain societies supposed to be national in spite, "though last not least," of the absurd criticisms of certain newspapers-the art has kept the even tenor of its way, and is still progressing. A grand school of art is forming, in the only way in which it ever could or ever has been formed in this country, by the study of the works of the great masters and an investigation of the principles upon which they were written. The result of such an investigation is the knowledge of who the great men really are, and why they are great. In other words, what fine music really is and in what it consists. If we pronounce a ything to be good, we must have some reason for doing so, and things must always be good for the same reason. If a symphony of Beethoven is said to be good, because it possesses all the finest qualities of music, any other work possessing the same amount of fine qualities must be equally, or, if it possess a portion only, relatively good. a It is not mere contrapuntal skill, the melodic faculty, form, ✨ design, or any one quality that can make a composer truly great, but an assemblage of all, such as we find in the works of Handel, Haydn, &c. Much has been said about a tional school," and some of our young composers have been reproached by certain "eminent critics" with anti-national tendencies, for endeavouring to emulate Mozart and Beethoven; these gentlemen, with much less wisdom than Solomon, are consequently much more difficult to satisfy; they must have something totally new, something in itself ex. cellent, yet totally different from everything that is excellent. Our composers are expected to produce fine works, but are still to be totally unlike Handel, Haydn, Mozart, Beethoven, &c., who are great, not because they are called Handel or Haydn, but because they have discovered the universal and immutable principles of the sublime and beautiful, and the THE late M. Castil-Blaze compiled a so-called mass from secret of applying those principles to their art. But to those deluded beings who are suffering under this morbid it under the name of the illustrious composer. We have veneration for the great masters, and are vapouring away already spoken of this famous "Mass by Rossini," and stigtheir existence in endeavouring to emulate them, the advice matised such a piece of buffoonery as it deserved. Were of our "eminent critics" is not wanting. One proposes, Castil-Blaze still alive, what would be his astonishment on that instead of emulating Mozart or Beethoven, our com- discovering that he was not the inventor of the process which posers should arrange their own national tunes after a new consists in constructing masses out of dramatic music, but fashion, and that, says he triumphantly, would be English that, in Germany, he had predecessors, who used Mozart as music, and lead to the formation of an English school! An- he had used Rossini. other suggests writing in the manner of that is imitatingShield, Arne, Callcott, &c., and that, also, would be original English music! It thus appears that when English writers imitate each other, imitation is not imitation; but if they imitate great foreign writers, imitation is imitation. The logic of

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In the musical collection of Charles Zulehner, at Mentz, there was a mass in C major, bearing the name of Mozart, and entitled Coronation Mass. With the exception of the "Credo," it was composed either of fragments or entire pieces from the opera of Così fan Tutte. These excerpts

were transposed into other keys, or their instrumental accompaniments modified. We have never seen this mass, but Herr Otto Jahn, more fortunate, was allowed to examine a copy.*

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The "Kyrie" is the trio (No. 10), "Suave sia il vento," transposed into C, and the wind instruments, except two flutes, omitted. A tenor part is added to fill up the harmony and complete a four-part chorus. "Christe Eleison is the first subject of the duet (No. 4), "Ah, guarda, sorella," transposed into G for soprano and tenor voices, with two oboes and two horns in the accompaniment; some passages omitted, and the ritornella placed at the end.

At the beginning of the "Gloria" are a few bars due to the inventive powers of the unknown "arranger;" the rest is composed of themes taken from the first chorus of the second finale. In the "Gratias agimus" appear the first seventy bars of the air (No. 11), "Smanie implacabile," solo for soprano in F major; in the "Qui tollis" we have seven not taken from the opera; but in the "Miserere" we detect four from the first finale, "Ed il polso," after the repetition of the "Qui tollis," the "Suscipe" draws upon the first finale, from "Oh se tarda," until the end. "Quoniam tu solus" is composed of trio (No. 3)," Una bella serenata," without any change except the addition of a fourth part for the tutti. The concluding ritornella is suppressed. The "Sanctus" and "Hosanna" are made out of the andante of the first finale, "Dove son," shortened by six bars, and transposed into C. The vocal parts have undergone certain modifications rendered necessary so as to fit them to the

words.

omitted.

"I shall be of my age and of my country. The music of the future has as yet acquired in Paris only a strongly contested footing, and it numbers more adepts in the German than in the French school. As for myself, I assert that, for more than half a century, the French school has produced enough men of genius to enable any one to consider himself fortunate at having derived from such a source the principles of musical art! I am far from being exclusive, and denying the first-class beauties of the Italian and German schools. Luckily, we no longer live in the age when Cherubini, director of the Paris Conservatory, would not sanction in the class for counterpoint the study of the fugues of Sebastian Bach, whom he called barbaro Tedesco (?); nor do we approve of the severity of Zingarelli, director of the Naples Conservatory, in banishing from the school Mercadante (his successor), who had copied out with his own hand the separate parts of Mozart's quartets, for the school to have levied contributions on Germany and Italy, and to have sake of studying them in score. It is the peculiarity of the French mingled with the productions of those two schools an originality which has caused it to be said that French music is eminently spirituelle.” Happily nous avons changé tout cela, in London no less than in Paris. Dogmatism has given way, perhaps, to a somewhat loose eclecticism. At all events, now there are no longer living and producing any Mozarts and Sebastian Bachs, there are a far greater number living who are able to appreciate what those great men did.

ACCORDING to the latest reports from Paris, the idea of

producing Tännhauser at the Grand Opera is in abey ance-or, at least, indefinitely postponedor, at most, it will be put into rehearsal "this day six months "or, at best, deferred sine die-or, at the utmost stretch, virtually (virtuously) abandoned. In revenge, London amateurs are not to be disappointed, if rumour speak not falsely, Mr. Harrison Mr. Harrison, being firmly nailed to the resolution of bringand Miss Louisa Pyne, or, rather, Miss Louisa Pyne and

The "Benedictus," this is the duet with chorus (No. 21), "Secondate," transposed into F, and accompanied by stringed instruments, flutes, and oboes. The "Agnus Dei" commences with eleven bars not boring out an English version at their theatre. At any rate, rowed from the opera. These are followed by the music of the admirers of Herr Wagner's music will be [gratified to the second finale, "Idol mio," the part of Despina being learn that his three-night opera, the Niebelungen, is completed, or nearly so, and that the last "night" is still unfinished. We strongly recommend Miss Louisa Pyne and Mr. Harrison, or, rather, Mr. Harrison and Miss Louisa Pyne, to rehearse the Niebelungen (which occupies three days (not of Algiers-political musicians will understand us-) in rehearsal) over Tännhauser, Tristan und Iseult over the Niebelungen, Lohengrin over Tristan und Iseult, the Fly ing Dutch Captain over Lohengrin, Rienzi over the Flying Dutch Captain, and the Postillon de Longjumeau (a preWagnerite opera) over Rienzi. We advise them thus in order to provide for the contingency (or contingencies), of a falling through (or fallings through). Thus we advise them, and for the reasons stated. PETIPACE OF WINCHELSEA.

"Dona nobis" consists of the last concerted piece in the opera. What will musicians say to such desecration? It is, in truth, curious, but more curious still that Zulehner, in a letter addressed to Godefroid Weber, should advance the opinion that this mass was written by Mozart before the opera of Così fan Tutte, the materials for which were derived from the mass. There is absolutely nothing to support this preposterous assumption. It is far more likely that the mass is the work of some obscure compiler. What sanctions this belief is the testimony of several old musicians, who, according to Herr Jahn, remembered in their youth similar masses made up of pieces from Figaro and Don Juan.

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THE following communication, from Mr. Thomas Walesby,
THE
appeared in the Globe of the 10th inst. :-

"On or about the 6th of October, 1859, the author of the present letter offered a suggestion in the Times, and subsequently in the Globe, to the following effect:

"The Great Bell." Big Ben the Second," at Westminster Palace, having been silenced, let the clock strike the hours, pro tem., upon the largest of the four chime-bells, which ought to emit a deeper note than that of the hour-bell at the Abbey-the other bells being mute.'"

And this proposal was approved by musicians as well as by campanologists. Yet the great clock has not been permitted to strike up to this moment, so that twelve months have elapsed since the hour was indicated by the sound of

a bell, a space of time more than sufficient for designing, casting, and hanging one of the finest peals of twelve bells in the world.

Now, whatever may have been the different opinions as to the conditions of the great bell, or with regard to the chimes, so far as we know, there can be no reasonable excuse for the non-employment-long before this-of the largest chime-bell, above-mentioned, as a temporary substitute for "Big Ben." Moreover, upwards of four months ago the Chief Commissioner of Her Majesty's Works, stated in the House of Commons, that means would be used for causing the clock to strike the hours upon the largest quarter (chime) bell. And a searching critic-Mr. Punch-said in his inimitable Essence of Parliament (1860, June 4th, Monday) :

"By far the most important parliamentary statement of the week is, that Big Ben being irretrievably cracked, and London being melancholy at not hearing a voice from the Golden Tower, the hours are to be struck on the largest quarter-bell."

Why, then, let us ask, does it continue silent?

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A MUSICAL KEY WANTED.

THE Athenæum and the Musical World are always alluding to "The Musical Fitch.". We don't know what it may be, but should say it was the very thing for a grand incantation scene, like that in Der Frieschütz. Perhaps Dibdin composed all his celebrated Tar songs with this same "Musical Pitch ?" or is it a kind of wash that the Ethiopian Serenaders are in the habit of using to black their faces with? We confess we are quite in the dark, and only wish that either of our above-named musical contemporaries would be kind enough to send in a stave or two such as would be likely to give us a small taste of what this much-talked of “ Musical Pitch" is like. Of course, it is never used for light music?

There is none of this pitch, although there be many pitches, used in the incantation of Der Freischütz (not FrIEschütz). Dibdin did not compose his tar songs with this pitch, although he pitched them all naturally enough. This pitch is not the wash of the Ethiop halloocrs, who black not their physiognomies of a wash (quelconque), but wash them of a black (quelconque), which is not this pitch-as you may see. This pitch is unused in light music, which may be pitched, nevertheless, in divers pitches (poly-pitched, or ponny-pitched). So that our spare-shanked contemporary is (as he squeaks) "in the dark"-pitch-dark-about this pitch; and unless he would run the risk of a pitched battle with a herd of hungry aristarchs, he had best pitch his sombre speculations on this pitch to the dogs. A pitcher for such speculations upon pitch! As coming, too, from one

who having no sooner pitched his critical pavilion than he commences pitching into his brother men of quips, with the three-toothed pitchfork of his sarcasm, they are scarcely worth the issue of pitch and toss. Pshaw! Fi donc ! (shade of Piccinni-or Pitchinny!) Pi(tc)sh!-Mons. Durillon (cor-NICHON) d'Engelure! PETIPACE.]

MEYERBEER AND THE TOWN OF SPA.

(Extract from a private letter.)

council of Spa, under the presidency of Count Cornelissen, You have already announced that the communal the burgomaster, decided, some time since, on naming the new walk formed between the springs of Barisart and the Geronstere after the illustrious author of Les Huguenots. This resolution, proposed by M. Servais, one of the sheriffs, was unanimously adopted, and notice of the fact transmitted to the eminent maestro, who lost no time in answering the members of the council in the following letter, remarkable for its good taste and amiability:—

"Schwalbach, 12th Aug., 1860. "GENTLEMEN,-Having been absent from Berlin a month, and tra

velling about almost continually during that period, it was but yesterday

I received the letter addressed by you to me at Berlin.

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honour you propose doing me, in giving my name to the new walk from I cannot express to you, gentlemen, how much I am touched by the

Barisart to the Geronstere.

"Such a mark of sympathy is the more flattering, because it proceeds from the city of Spa, so near to my heart; for it is to its beneficial springs that I owe the re-establishment of my health, to its picturesque sites inspiration and sweet repose, and to its inhabitants a kind and cordial welcome for very many years past.

"This fresh mark of the interest you feel for me cannot, however, increase my attachment and gratitude to Spa, for those are sentiments long graven on my heart; but it is another tie binding me to your town, of which I am almost bold enough to consider myself as the adopted child, a belief you have just strengthened by inscribing my name upon one of your promenades. "I remain, gentlemen,

"Yours devotedly and gratefully,

"G. MEYERBEER."

There were grand) fêtes at the inauguration of the "Promenade Meyerbeer." Several concerts were also given. Then came the "Kermesse," or fair, with its popular balls, illuminations, and rejoicings of all kinds, and, lastly, the grand steeplechase of the 24th September, which closed the season at Spa.

MR. GEORGE AUGUSTUS SALA. The success of the Cornhill Magazine appears to have excited the enterprise of another publishing firm, and a rival is announced for the 1st of December, under the auspices of that popular writer, Mr. Sala. This new literary periodical is to be entitled, simply, Temple Bar, and the editor, we are informed, has taken out a patent to secure the monopoly of all puns and smart sayings that may thereby be suggested. Such of our contemporaries, however, as imagine that this fresh candidate for public favour will confine itself chiefly to light, perhaps to frivolous, literature are mistaken.-The Press.

[We have also heard it indistinctly hinted that still "another publishing firm" is about to issue still another "rival" to Cornhill Magazine; and that this "new literary" periodical is to be entitled, simply, Shoe Lane-editors, the authors of The Goose with the Golden Eggs. Shoe Lane→→→ we have further almost learnt will be published ten times annually, so as to give it an original feature, and to bring it within the conditions of the decimal coinage. A serial thus rediged can scarcely miss faisant nargue to all concurrences, or simultaneous runnings. P. WINCHELS.]

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The Operas.

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HER MAJESTY'S THEATRE. - Robin Hood continues to draw immense audiences, and the interest the performance created on As the the first night increases with each successive repetition. music is heard oftener, its beauties become more apparent, and its purpose is rendered more distinct. This is the best compliment that could be paid to the opera, and proves that its merits are not superficial, nor its attractions merely of the ad captandum kind. So great indeed is the success, that it weakens in some respects the prestige of the alternate Italian nights, and Mr. Sims Reeves, Mad. Lemmens-Sherrington, &c., now warble to more multitudinous ears than Mlle. Titiens and Signor Giuglini, even with the aid of Don Giovanni. It is lucky for Mr. Buckstone that the Haymarket to Her Majesty's. The "overflows" to Robin

repa, we think, would have been heard and seen to far greater advantage in Donna Elvira than in the peasant girl, although she sings the music well, in spite of the uncalled-for alterations and intruded shake in "Batti, batti." Mlle. Parepa is too good an artiste not to pay proper respect to the greatest of all dramatic musicians, unless she had been advised to the contrary. We should like to know who it was counselled the lady to improve Mozart. Herr Hermanns has a deep bass voice, of stentorian power, and fine quality, admirably fitted to such music as that of Marcel in the Huguenots, and Bertram in Robert le Diable. He sang the part of the Commendatore with decided effect, and was very impressive in the last scene. Of Mlle. Titiens' Donna Anna, Mlle. Vaniri's Elvira, Signor Giuglini's Ottavio, Signor Vialetti's Leporello, and M. Gassier's Don Giovanni (one of the best now extant)-performances all so well known, it is needless to say anything in this place. Perhaps Mlle. Titiens was grander than on any previous occasion in Donna Anna, and certainly Signor It was pleasing to observe the stand the Italian company, following the example of the English artists, headed by Mr. Sims Reeves, made against the encores, every demand for a repetition being refused, except in the case of "Il mio letoro," which nevertheless Signor Giuglini might have declined repeating with perfect good grace. Don Giovanni was repeated last night, and is likely to run some nights in alternation with Robin Hood,

Theatre is so ne "cram" the elegant little temple of comedy | Giuglini never sang the lovers' music with more winning sweetness.

Hood have helped opposite.

Of the principal singers engaged in the performance of Robin Hood we cannot speak too favourably. Mr. Sims Reeves was never better suited, and, besides his wonderfully spirited declamation of the songs elsewhere quoted, gives the arduous scene of the prison, late as it appears in the opera, with an enthusiasm that imparts itself to his audience, and encourages the belief that he could go through the whole of his music again with the utmost ease, so fresh and vigorous is his voice, so unabated his energy. Mad. Lemmens-Sherrington may fairly appropriate the well-known words of Byron-"I arose one morning and found myself famous." Her Childe Harold is Maid Marian; for, little known to the general public before Thursday night week, not at all, indeed, out of the concert-room, her admirable performance of that part at once raised her to a high position-a position which we have no doubt whatever she will maintain. Without alluding to any other piece, the scene in Act II.-"Hail, happy morn," is enough to prove her a singer of the first class, her expressive rendering of the prayer and her facile execution of the last movement, a bravura of uncommon difficulty, showing her to be an accomplished mistress of two wholly opposite styles. She and Mr. Santley-whose voice alone would attract, even were he a less consummate vocalistshare, and deservedly share, the applause with Mr. Sims Reeves; and it is gratifying to find them following the example set by that gentleman, in resisting the demands for encores. On Saturday, Tuesday, and Thursday-at the second, third and fourth performances, not one encore was accepted; and, if this apparently "dead set" thus made against an absurd custom be resolutely persisted in, the public, as well as the artists, will be gainers; the latter, not being tired of singing, will be able to keep fresh to the end, while the former, not being tired of hearing, will be able to enjoy the entire performance without lassitude. The composer, too, will be greatly benefited by the abolition of "encores," which, if numerous, cannot but divert attention from those parts of his work which have cost him the largest amount of thought and labour, and which he himself would naturally be most pleased to find appreciated. To conclude, Mr. Honey is invaluable in the comic scenes of the Sompnour. Mad. Lemaire is lively, industrious, and always correct, as Alice; while Messrs. Bartleman, Patey, and Parkinson do their best with the subordinate characters of Little John, Much, and Allan, the two former being in all respects competent. The orchestra, under the able direction of M. Charles Hallé, works zealously; and the solos especially (awarded to oboe, violoncello, clarionet, and flute, in various parts of the opera, are invariably well played. Much has been done in the way of mise en scène and general stage arrangements; but nearly as much has been left undone that might with advantage have been effected for Robin Hood. It is something, however, to have produced such a work-more particularly as the present undertaking is a new one; and the reception given to the whole opera on each successive night has been so unmistakably genuine that there can be no question whatever as to the feeling of the public.

Don Giovanni was given on Wednesday by the Italian company, the cast differing from that of the regular season in two essential particulars only, Mlle. Parepa appearing for the first time as Zerlina, and Herr Hermanns as the Commendatore. Mlle. Pa

ROYAL ENGLISH OFERA Dinorah was given for the first time this season, on Wednesday, and introduced Mr. Chapple, a barytone of provincial name, in the part of Hoel. Mr. Chapple may be congratulated on his first appearance. His voice, not powerful, is very agreeable in quality, and of considerable compass in the upper register, as the music of Hoel necessitates. He has evidently had stage experience, as he walks easily and without being constrained, and his gestures and movements are unforced. Some allowance must be made for a first appearance, but, taken altogether, the new barytone was a decided hit. The part of the male goatherd was sustained by Miss Leffler, who sang the air written for Mad. Nantier-Didée very charmingly. The young lady, however, must learn to infuse a little more vivacity into her action. A goatherd is not necessarily a tame person, more especially when addressing his companion on so exciting a subject as that of love. Miss Leffler is a novice, and therefore we tender her our advice, hoping she will profit by it. Miss Louisa Pyne never sang more delightfully. She warbled indeed like a lark, and gave the shadow song to perfection. Mr. Harrison's Coventino is perhaps his best performance, hilarious without being obstreperous, humorous without coarseness, and quaint without queerness, to speak in Johnsonian phrase. Miss Thirlwall played the part of the female goatherd, and Mr. St. Alban that of the reaper, both creditably; and Mr. H. Corri gave the hunter's song with infinite spirit. The band was inimitable throughout, and the whole performance one of the most satisfactory given by the Pyne and Harrison company. We are sorry to add that the theatre was by no means full.

PECKHAM.The concert given by Mr. Howard Herring, at the Assembly Rooms, on Thursday evening, was exceedingly well attended, the only contretemps being the absence of Miss Eliza Hughes, from illness. Miss Palmer was the principal lady vocalist. She sang with great taste several ballads, and in the popular song of "The skipper and his boy," obtained a unanimous encore. Mr. sang with greater George Tedder was the principal tenor. He care than usual, and was deserved by encored in a ballad by F. Romer. The principal basso was Mr. Leonard, who is becoming a great favourite with the suburban concert-goers. His reading of Rossini's Largo al factotum" was capital, and in the popular "Beer song" from Martha ("Chi mi dira") he was vociferously applauded, and deservedly encored. There was no instrumental solo. Mr. Howard Herring, besides assisting in several concerted pieces with Messrs. Beckett, Everson and Osborn, accompanied the vocal music on the pianoforte, but he will require more practice before he will be a good accompanist, as he was anything but steady in keeping time with the vocalists.

66

Provincial.

RYDE.-(From a Correspondent).-Mr. Austin, professor of the cornet-à-pistons, gave two concerts at the Victoria Rooms on Monday and Tuesday. The Delepierre family and Miss Garland, with the concert-giver himself, sustained the solo parts of the performances, which were much applauded by the crowded audience assembled. Many pieces were encored; but the performers generally returned to the platform only to acknowledge the compliment; a course, indeed, which the true artist should invariably adopt. Mr. Austin introduced a selection from a mass by Dr. Holloway, of this town, arranged as a trio for pianoforte, cornet, and harmonium, and was performed with much effect by Messrs. Fowler, Austin, and W. Salter. The "et incarnatus," alto solo, was played with feeling by Mr. Austin, and greatly applauded.

MANCHESTER.-The first of Mad. Clara Novello's two "farewell performances" attracted an assembly of more than two thousand persons to the Free Trade Hall on Saturday. The fair artist was greeted with thunders of applause, and appears to have created an immense sensation by her singing. She was assisted by the London Glee and Madrigal Union, under the direction of Mr. Land, who gave some popular glees and madrigals with marked effect. Herr Molique and Mlle. Anna Molique executed some violin and pianoforte pieces in admirable style. The Italian Opera Company have been playing Don Giovanni and Rigoletto, Mario playing Ottavio, not the hero in Mozart's opera. Neither piece presents anything new to the readers of the MUSICAL WORLD, except the Zerlina of Mad. Viardot, which is represented as singularly novel and vivacious. Signor Dragone, it would seem, is overrated by managers, since neither his Don Giovanni nor Jester in Rigoletto has been accepted by the public.

BELFAST.-(From our own Correspondent.)-Our musical season here has already commenced. Mad. Rudersdorff's company are now giving a series of operas at the theatre in a very effective manner, and the principal artists receive much applause, and are nightly called before the curtain two or three times. The following remarks on Mad. Rudersdorff's singing is from one of our local papers-The Northern Whig-the excellency of whose musical criticisms has made it an authority :

"In this lady's singing, speaking of it generally, the auditor is not less impressed by the actual power of her voice and vigour of her execution than by the intellectual earnestness, if we may say so, which pervades it. Behind the highly-cultivated musician, singing the notes of the composer, we feel the intelligent woman interpreting and realising his ideas. A certain carnestness which always accompanies intellect, and which is much more at home in serious and tragic situations than in gay and trifling passages, renders Mad. Rudersdorff's dramatic singing, so far as it can do so, perfect, and would itself atone for large deficiencies in the voice, did such exist. Many voices are sweeter; a few more powerful and better regulated, but scarcely any among the present generation of singers have the same capability of being impressed with shades of feeling-the same range of varied accentuation. So much is this the case that Mad. Rudersdorff is constantly making her audience forget herself in the sympathies which she awakens for the ideal character she represents, and thereby attains what should be the artist's true ambition. Much more than the senses merely is gratified by her singing, which, so purely a bodily effort with some, is with her

an exercise of the mental powers as well."

Mr. Elliot Galer and Miss Fanny Reeves also received a fair share of attention from the press. Mr. Benson's power is scarcely equal to the important part he fills, but he is painstaking and careful. The orchestra, under M. Randegger's bâton, is very good, and though the chorus is weak, the tout ensemble is superior to anything we have had in the opera way before. Next week the Classical Harmonists' Society (what a terribly long and unmeaning name!) give their first concert, when Acis and Galatea, and a new cantata, England, Star of Freedom! written by Mr. William Ball, and composed by Mr. George B. Allen, will be performed by Miss Theresa Jefferys, Miss Winn, Mr. Montem Smith, and Mr. Winn, with a band and chorus of one hundred. Mr. T. Harper and Mr. R. Blagrove are among the instrumentalists. The Society, being anxious to infuse a love of the best music into the less wealthy classes, are going to give another shilling night, when

the Messiah will be sung by the same company. Early in November, the Anacreontic Society open their campaign with two concerts, at which Mad. Novello will take her farewell of Belfast. Such a brilliant commencement augurs well for the season, and indeed there is reason to expect it will be one of the first on record. Perhaps in no town in the kingdom is music making more rapid strides.

MR. BALFE'S NEW OPERA.-The patrons of the Royal English Opera will be gratified to learn that the new opera of Mr. Balfe is completed, or at least very nearly so, and that one act is already in the hands of the copyist.

SIGNOR ALARY, re-arranger and improver of Mozart's Don Giovanni, has been created by the Queen of Spain a Knight of the Royal Order of Charles the Third, for services non-explained, but, though confidential, doubtless urgent.

NEW YORK.-Mr. Brougham's new comedy, Playing with Fire, Tuesday evening, to the infinite delight of a large audience; it is writes a New York paper, was produced at Wallack's theatre, on undoubtedly the best comedy the author has yet written; and, although the plot is exceedingly slight, it is very cleverly elaborated, and the situations are arranged admirably. The dialogue The plot is simple, that a Mr. Waverly is jealous of his wife withsparkles with wit and bon mots, and is peculiarly epigrammatic. out cause, and induces Dr. Savage, just as a test, to flirt with her. It is a dangerous attempt for the Doctor, this "playing with fire," done, and all ends well. The acting could not have been better. and he does not altogether escape; but no particular harm is The Herald says, "The piece made a thorough, undoubted, and genuine success, and we do not hesitate to pronounce it altogether the best of Mr. Brougham's comedies. That it will have a great run and an enduring place in the English drama is beyond peradventure." The Tribune considers it "one of the most clever and brilliant works of this versatile author," and says it "was received with unbounded approval by a crowded audience." The Times is equally complimentary, and remarks, "Only that the public crave for novelty, it ought to run for the rest of the season."

WHAT DOES THIS MEAN?At the Crystal Palace, Clara Novello took leave of the Londoners, before whom she has been warbling the National Anthem long anterior to the coronation of the Queen, favourite was in the Messiah; but had it been the Dead March in Saul or that of her Majesty's predecessor, W.R., either. The farewell of the it could hardly have met with a more lugubrious accompaniment on the part of the audience, swarms of whom really did march about during coffee than on the staccatoed and liquid strains of the syren, who seemed the performance, far more intent upon Staple's cold pork pies and hot heartily glad when the affair was over. And a trumpery affair it was, as regards the projectors, the extraction anyhow of gold from the lady's notes being their one object. This they certainly attained so far as the alattractions can be deemed a success; but in any other than a sordid lurement of a large crowd through most mediocre and inexpensive sense it was a failure. No experience, no number of repetitions of experiments, seem to give the managers the least idea, or the least desire gledy as of old still prevails, and promises to be everlasting. Muddle of an idea, how to accommodate the public. The same higgledy-pighas made its home beneath the transparent roof, and everybody can see the remedy, save those who should apply it, but who won't; nor will they make way for those that would. It is only a positive genius for mismanagement that could so counteract the national magnetism of the place, its site, grounds, &c.; for notwithstanding its distance, and the inconveniences of getting there, and on such occasions as to-day, the discomforts when reached, and the extortions and privations, and so on, still, scarcely any state of the atmosphere is repellant enough to prevent a large gathering, which generally separates grumbling at an administration of affairs nearly as bad as the conduct of public business in the House of Commons. That such a multitude as assembled to-day could be got together is a phenomenon it would take a whole Brougham to expound at a Social Science Congress ;-called social because the Lord Harry has it all to himself; and capital company he is, according to all accounts; said accounts very agreeable a long way off from the "transactions" recorded.- London correspondent of "The Liverpool Albion."

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