Reviews. BEFORE proceeding to the next number of Messrs. Ashdown and Parry's new issue, it will be as well to say a few words about such of the works of M. Stephen Heller as are not comprised in the collection of that spirited firm, and which have been politely forwarded to us by the Messrs. Schott. Ops. 1 to 6 of the works of M. Heller consist of sundry Airs Variés, the themes selected from popular authors, and the whole of which were composed between the ages of twelve and fifteen. From a glance at these effusions we come to the conclusion, that, although not without considerable promise and a certain feeling of originality, they do not evince any decided indications of that peculiar and distinguished talent which was later evinced by the composer. They should, nevertheless, be included, if possible, in every complete collection of M. Heller's work, as illustrating a particular point in the progress of his talent as a pianist and composer. Op. 7 consists of Three Impromptus, in which the originality hinted at in the Airs Variés is further and happily developed. In these pieces a boldness of progression is occasionally evinced, not observable in his previous works. Op. 8 is a Scherzo. Here already the deep sentiment and largeness of outline, which subsequently became prominent characteristics in the style of M. Heller, are strongly shadowed forth. But the first remarkable effort of M. Heller's genius is incontestably the sonata, Op. 9 (Première Sonate, pour piano seul), in which the style of the young composer exhibits a complete and unexpected transformation. What was before merely hinted at, and regarded by the critics as a momentary caprice of the fancy, becomes a prominent feature. The evidence of a recent and enthusiastic study of the works of Beethoven and other great masters is too positive to admit of doubt. The ideas, formerly treated with the minute elaboration of a petit maître, are clearer, simpler, and made to depend more often on their unadorned simplicity. The outlines become wider, and at the same time more consistent, while the general style evinces a feeling of decision which is not impaired even by the profuse manual difficulties that spring from the young writer's unlimited command of the instrument. Altogether this sonata is a work of high interest, as containing the seeds of those peculiarities which have since become such attractive characteristics of M. Heller's manner. Ops. 10, 11, 12, 13, 14, and 15 seem to have been written to order. M. Heller's fame had by this time reached Paris, and his music was already considered a marketable commodity by the publishers of that soi-disant centre of modern civilisation. The influence of Paris upon M. Heller was what the influence of Paris has invariably been upon all young composers when they have first experienced it,-deleterious and abasing. We can, indeed, see little in these works beyond a certain readiness in appealing to what is styled so complacently the "popular taste." They are easy and sometimes elegant, but there is nothing in them that any one capable of writing with facility might not have written with facility. They obtained much popularity, however, and for a time their vogue acted as a check upon the original genius of the composer, who did not emancipate himself from the dangerous position in which he stood, until "one fine morning" he produced the Art de Phraser, 24 Etudes, Op. 16, one of the most charming and ingenious of his earlier works. To return, however, to the edition of Messrs. Ashdown and Parry, which in our opinion those gentlemen would do wisely to further enrich by the addition of those pieces at which we have just now hastily glanced. Op. 21 consists of another set of Two Impromptus on another melody of Henri Reber (Deux Impromptus sur une Mélodie de Reber-Op. 21)-" La Bergeronnette," a truly charming little pastoral. M. Stephen Heller's partiality to the melodies of Reber is fully excused by the specimens he has chosen for the basis of his caprices and impromptus. There is a freshness about them which now-a-days is rare indeed. Perhaps "La Bergeronnette" is the best of the three. The theme is first given simply-as in the other pieces we have noticed-in the key of A major. The impromptus are both very short. The first is an allegretto con moto in the key of the melody, of which it is a beautiful development. The second, in F sharp minor, also an allegretto con moto, is more fantastic and capricious, more lengthened, interesting, and difficult to play. In both impromptus the pastoral style of the subject is well preserved, the gaiety of the first presenting a happy contrast to the melancholy of the last. In their way we know of nothing more attractive than these ingenious bagatelles, which have the merit of perfect originality. Op. 24 is an agreeable trifle for young performers. (Petit Bijou sur une Romance de la Chaste Susanne-Op. 24.) The Chaste Susanne is unknown to us. The name of the romance is "Helas! comment dans ma jeune âme?" M. Heller has turned it into a sparkling little rondo in C major, extremely easy to execute. We recommend this strongly to all masters who have young pupils under their care.] Op. 25 is another short piece, but not so easy as the preceding one. ceding one. (La Kermesse (La Kermesse- Danse Neerlandaise). It is a waltz movement in E major, a perfect gem in its way, full of pretty harmonies and graceful passages, as clever and as interesting as the best of Chopin's Mazurkas. The The Art de Phraser, Op. 16, already alluded to, is dedicated to Mlle. Josephine Rist, and consists of twenty-four studies of various lengths, in all the major and minor keys, in the course of which almost every kind of measure and rhythm, simple and compound, is employed. pupil who diligently practises these studies will soon acquire the most important element of expression-a satisfactory manner of phrasing, without which the utmost mechanical facility becomes cold and monotonous. This is the principal aim of M. Heller in the present work. Each of the studies is a song, more or less elaborately developed, with a peculiar figure of accompaniment. In some the melody is given to the right hand entirely, in others to the left; and is as often divided between the two. Occasionally the song is confined to the bass throughout, occasionally to the top line, and sometimes arranged in the form of duet. Almost every species of figure is employed in the accompaniments, and out of the four and twenty studies there are not two which bear any resemblance to each other. The style is exquisitely finished, and the effects, though various and rich, are never irrelevant to the instrument in which they are composed. Except some of those in extreme keys, the studies are of moderate difficulty, within the reach of performers of moderate pretensions. Viewed in this light alone the Art de Phraser is the most attractive, as well as the most useful, compendium of practice which the pianoforte possesses. It advances the taste of the pupil, while it assists the development of his mechanical capability. At the same time there is quite enough of purely musical interest in them to enchain the admiration of the most cultivated professor of the art. We had entered into a separate ana lysis of each of the twenty-four studies; but, on further reflection, having so much to say on works of greater length and importance, we have come to the conclusion that the introduction of such minute criticism would be superfluous as well as inconvenient. We may, therefore, leave the Art de Phraser with the general recommendation embodied in the forgoing remarks, backed by the simple asseveration that a more profitable compendium of exercises for the pianoforte, or a better introduction to the elaborate and difficult works of the greatest masters, ancient and modern, does not exist. They teach style and execution together, through the fascinating medium of music, at once. simple, expressive and beautiful. Had M. Stephen Heller produced nothing else, the Art de Phraser would alone have sufficed to rank him among the most original and distinguished of modern composers for the piano. Let us hope that this strong and sincere testimony to their value may serve to draw the attention of the professors and students of Great Britain to their merits. The London edition of the Messrs. Ashdown and Parry is divided into four books, each book containing six studies, and of course to be had separately. MUSIC AND THEATRES IN PARIS. (From our own Correspondent.) Oct. 18. SINCE my last Mad. Vandenheuvel-Duprez has made her début in another new part at the Grand Opera, that of Lucy in the Bride of Lammermoor, and I may add that her success was in every way as complete as her warmest friends could desire. It is somewhat curious that the association of the name of Duprez with Donizetti's opera dates as far back as the creation and production of the work itself. It was written in 1835 at Naples, for Gilbert Duprez, and on the 9th of January, 1851, it was selected as the medium for presenting Mlle. Caroline Duprez to the public for the first time in the Salle Ventadour, when she appeared side by side with her father, who resumed his old part of Edgar, in order to become sponsor at his daughter's theatrical initiation. The part of Lucy brought good fortune with it then, which, as might be expected, has not deserted it now that it is again essayed with matured talents and all the confidence gained by a series of successes. Mad. Vandenheuvel was recalled at the close of the mad scene, and also after the farewell duet with M. Michot, who was the Edgardo on the occasion. After a protracted delay and a succession of disappointments, Mad. Tedesco has at last made her appearance in Le Prophète, and was warmly received by her admirers. At the Opéra Comique, now that Sainte Foy has returned, Galathée has been revived, Mad. Ugalde still playing the heroine, while the part of Pygmalion has been taken possession of by Troy. and Le Petit Chaperon Rouge with Montaubry and Mad. FaureLe Docteur Mirobolan with MM. Couderc, Berthelier, and Lemaire, Lefebvre, still hold on the course of uninterrupted success. Rumour speaks of two new operas recently accepted by M. Beaumont, one in three acts entitled L'Elixir de longue Vie, the other in one, baptized L'Illustre Gaspard. The authors of these two works are respectively M. Duvert and M. Lanzaune, both tried hands, and it is said their productions will be confided to composers of no less experience. The Val d'Andorre has been revived at the Théâtre Lyrique, where the Caledonian cognomen Gillies ?) who last year carried off the a young pupil of the Conservatoire, Mlle. Ida Gilliess (query, first prize, has been making her début in Les Dragons de Villars, with undoubted success. She possesses a mezzo-soprano voice of excellent quality, and deficient neither in charm nor flexibility. At first a paroxysm of stage fright left her scarcely any command over her powers, but in the duet of the second act she had sufficiently recovered herself to make a most favourable impression, and in the grand finale of the third act her triumph was complete. Mlle. Gilliess is said to aim at eventually appearing at the Grand Opera. The new comic opera by M. Aimé MaillartNella-is still in rehearsal and is promised for the 10th of next month. In Much is in preparation for the theatres, but as yet little has emerged from the resounding workshops. The Vaudeville is still preparing M. Octave Feuillet's new work, Redemption. the meanwhile, as a whet to the public appetite, it has produced an amusing little one-act, entitled M. Prosper, by M. de Noireterre. It appeared for the first time on the occasion of Mlle. Marquet's benefit. At the Variétés, a “fantaisie vaudeville," by M. Meilhac, called Ce qui plait aux Hommes, has furnished a laughable rejoinder to M. Ponsard's Ce qui plait aux Femmes. M. Charles Potier is amusing in it, and is well seconded by two new actresses, Mlles. Lejars and Garnier. A popular vaudeville, entitled La Gamine, has also been successfully produced here, and is much indebted to the exertions of MM. Leclèrc and Christian and Mad. Judith Ferregra. I hear from Berlin that at the Court Theatre it is intended to execute, on the occasion of Schiller's birthday, the 10th of November, the cantata and march composed by Meyerbeer for the great centenary festival last year. During the performance of the march the principal characters in Schiller's dramas will appear on the stage, forming appropriate groups. A dialogue, written for the occasion by M. Pfau, will then be declaimed, and the whole is to wind up with the cantata. The Stuttgart theatre has re-opened with St. John's Night, an opera by M. Pressel. It is said to be the composer's maiden attempt. M. Flotow, I am informed by a correspondent who writes from Schwerin, is engaged on a new opera. The libretto, the subject is said be drawn from the Minne-Saenger, is by M. Emilius Pohl. There has been a paragraph current in the French papers lately, calling to mind the once celebrated flautist, Drouet, who, at an ex At the Italian Opera Il Trovatore has been revived, and Mad. Penco made her first appearance this season as Leonora, meeting with a most enthusiastic reception. Mad. Alboni, in Azucena, of strong passions and swart and matronly beauty, shared the chief honours of the evening with the baritone Graziani. M.tremely advanced age, now occupies the post of chapel master at Pancani, the new representative of Manrico, had also cause to congratulate himself. Without the sweetness of Mario, or the vigour of Tamberlik, he is, nevertheless, a tenor of considerable merit, singing with taste and lacking neither power nor energy. For some time past it had been announced that M. Calzado, the manager of the Italian Opera, had obtained, or was about to obtain, a renewal of his privilege or license. The fact is corroborated by the official announcement that his privilege has been extended to October 1861. It is said that Ronconi has been engaged for ten nights; if the news be true the subscribers are fortunate. The Barbiere is announced for the beginning of November. The cast will include Mad. Alboni, Gardoni, Badiali, Zucchini, and Angelini. Mad. Alboni is also to appear in the Cenerentola, which has not been given these two years. Gardoni, Badiali, and Zucchini will be grouped round her. Two other operas are announced as shortly forthcoming :-Il Matrimonio Segreto and Ernani. MM. Pancani, Graziani and Angelini with Mad. Penco will play the principal characters in the latter. Gotha. His name has chances of becoming historical. It was he who harmonised and orchestrated the now national air, “Partant pour la Syrie," which Queen Hortense had composed; and it is said to have been his brother who, being postmaster at Ménéhould, recognised and arrested Louis XVI. during his attempted flight. The French government has been mindful of M. Drouet's title to its sympathies, and he has lately been presented by the Emperor with a snuff-box set in brilliants, the invariable form in which inscrutably enough Imperial gratitude or favour expresses itself. By what capricious fiction is it supposed that those who have deserved well of their country, or attracted the attention of the rulers of the world by their special merits, should be snuff-takers? I suppose in royal minds there is a special significance attached to a snuffbox, as with the Red Indian the pipe is a direct allusion to peace. As the one talks of smoking the calumet of peace, the other would speak of their protegés as taking the snuff of distinction. But to return to the venerable M. Drouet, I believe he is now in England on a visit to his son, who is educating at York, Mad. Miolan Carvalho, who is back from her Berlin engagement, sang the other day at the church of Notre Dame de Grace, at Passy, on the occasion of the marriage of Mlle. Amélie Heugel, daughter of the manager of your French contemporary and compeer, Le Ménéstrel, with M. H. Chevalier, the sculptor. The event was especially honoured, and received the highest musical sanction by the presence of Rossini and Auber. Both these great masters of their art expressed their admiration of Mad. Carvalho's talents, as displayed in the Ave Maria of Gounod, in which she was accompanied by the violinist Hermann. M. Lefebure Wély presided at the organ, and M. Nollet played the harp part. This was followed by a Salutaris, the composition of the former, and executed by his wife, the organ being taken by M. Auguste Durand. THE YANKEE OPERA IN DIFFICULTIES. A FEW weeks ago, in the course of some comments upon the war between the rival opera companies at the Academy of Music and Niblo's Garden, we took occasion to say that the result of the war could be nothing else than ruinous to both parties. Without pretending to be a prophet or the son of a prophet, we can still claim in this instance to have had a small glimpse into futurity. The martial Servadio, after a brief campaign of two weeks only, found his military chest entirely empty, and fell back upon the provinces, putting his trust in Boston enthusiasm and State street bank notes. Like the late lamented Mr. William Walker, he left some of his wounded on the field of battle, and the groans of the sufferers were distinctly heard above the dying wails of Medea and the shrieks of the trombones. However, this suspension is understood to be only temporary. Servadio kept his troops together, and made a successful descent on the modern Athens, commencing operations at the Boston theatre on Monday. An Meantime, the artistic skies of Irving Place began to show signs of a gathering storm. Prime donne "looked dark and cowld, like a short winter's day," as an Irish poet delightfully observes. equinoxial was threatened among the tenors, and distant thunder was heard from among the bassos and baritones. There was a financial crisis, likewise mysterious hints as to a rupture of the entente cordiale between the managers, and a cabal among the stockholders against Strakosch and in favour of Ullman and Maretzek, the latter always looming up, like a lighthouse in a storm, when there is any kind of a row going on or about to be raised. Then there was a double company, and the prime donne must be kept apart, and so a separation of the "combined troupe " was suggested; and that is the way the matter will probably eventuate. It has not yet taken place, although some of the papers have so stated. The whole affair is, as usual, enveloped in mystery, and its history has as many versions as the Bible; but the question of money seems to be at the bottom of it. The artists demand to be paid, and the managers claim that they have disbursed all the funds at their command, and that if the singers do not see fit to go on and trust to luck, the season will be closed. On the other hand, they have, like the politicians, the prospect of the spoils to animate them. Next week the Prince of Wales attends the opera in Philadelphia, and a great crowd is expected. Then comes the great ball at the Academy, for the rent of which the committee pay the round sum of forty-five hundred dollars; so that the managers, thanks to his Royal Highness and the Chamber of Commerce, will have some cash on hand. It is this hope which keeps them together, we presume. For the next week, however, the metropolitan public is not to go without its opera. Corporal Patti, who has already redeemed the fortunes of one desperate campaign, has returned from the provinces, and boldly essays the Traviata, the most important rôle she has yet attacked. The habitués are expected to rally around their favourite, and if they do so the present aspect of operatic affairs may be changed-the Muses may find themselves again in easy circumstances, and all the clouds that have lowered over Irving Place be buried in an ocean of dimes. Come, then, dilettanti, to the rescue. At the same time we cannot refrain from expressing our surprise at the constant recurrence of these quarrels between the artists and the managers, and the wars between the managers themselves. Here we have a first-class operatic city, people whose musical taste is second to none in the world, capable directors like Maretzek, Ullman, Strakosch, and Servadio; first rate artists like Fabbri, Colson, Cortesi, Patti, Brignoli, Musiani, and many others; and yet it seems that we cannot have the pleasure of hearing them in one company because of their internecine difficulties. It really appears as if Satan, not satisfied with his experiences among the politicians, has gone to work among the opera managers and singers, and we suggest that some kind of a revival is absolutely necessary. The opera folks must join a Christian or moral reform association, or visit the Fulton-street prayer meeting, or be awakened to grace in some way. As for the politicians, we have given them over to Satan long ago. He knows them thoroughly, from the Presidential candidates down to the nominees for the smallest ward offices, and he will take good care of them. But the artists and impresarii may yet be redeemed. As Doctor Watts remarks While the lamp holds out to burn The vilest sinner may return; so we have some hopes yet for the rival opera managers. Let them imitate the little lambs in their intercourse with each other. So shall they delight the public and reap the reward of its approbation. Letter to the Editor. THE LEEDS TOWN HALL ORGAN. SIR,-It is reported that the Town Hall Committee have refused Mr. Burton the use of the town's organ on the occasion of Mad. Clara Novello's farewell performance of the Messiah on the 29th instant, unless he will employ their organist. I believe it was understood, when the question of Town Hall organist was discussed, that the appointment would not give the organist the exclusive right of the instrument, and, if I am not very much mistaken, Mr. Shaw or some other member stated that it was not intended to give the organist the sole power. As there is to be a general meeting of the Council next week, I sincerely hope that some independent member will feel it his duty to bring the subject forward, that the ratepayers may have an opportunity of seeing where this apparent partiality exists. There is another question which, in my opinion, demands investigationthat is the charge for the Victoria Hall. It is stated that Mr. Burton is charged 104. per night, the Town Hall Concert Society 21. 10s., while the charges for admission to both concerts are 1s. and 6d., except the first concert given by the latter society, when their charges were 4s., 3s., and 1s. Surely these charges are not intended for the working classes. I am your obedient servant, Leeds, Oct. 19th, 1860. JUSTITIA. [We are really unable, not being Leedsmen, to afford our correspondent any information on the subject, or subjects, of his inquiry, or inquiries, the receipt of which, or whichs, came upon us like a clap,or claps, of thunder.-PETIPACE.] DEATH OF MR. EDMUND GLOVER.-Mr. Edmund Glover, eldest son of the late celebrated actress, Mrs. Glover, and for some years past manager of the Theatre Royal, Glasgow, expired yesterday morning at Edinburgh, after a long and painful illness. MAD. CLARA NOVELLO will most positively and assuredly take her farewell of the public on Wednesday evening, There will be a grand Nov. 21st, at St. James's Hall. orchestral performance of M. Benedict's lyrical legend, Undine, a work which created so much interest and enthusiasm at the late Norwich festival. Mad. Novello will also sing some of her most favourite pieces, selected from the National Anthem. The band engaged for the occasion her extensive repertoire, and conclude the performance with will be the same as performed with her at Norwich, and the chorus will consist of the members of the Vocal Association,-the whole under the direction of M. Benedict. Provincial. OUR PROVINCIAL notes for the week, if not marked by much variety, are sufficiently important. Mad. Clara Novello's "Farewell Performances" at Manchester and Bradford in point of interest have eclipsed all recent musical entertainments. The first "Farewell" concert, given at the Free Trade. Hall, Manchester, has already been noticed. The second, on Saturday last, which included the Messiah, attracted so great a crowd that hundreds were turned from the doors, and it was determined to give a third performance this day, with additions from the programme of the first concert of those pieces which had proved most successful. Mad. Novello, therefore, will give specimens of her versatility in selections from the sacred oratorios, and in Italian, Irish and Scotch "Com è bello," the beautiful cavatina from Lucrezia Borsongs. gia, will afford the singer an opportunity of exhibiting her bravura powers and dramatic style; while the Irish air, "How dear to me the hour"-one of the loveliest and most touching melodies in Moore's collection, and but little known in England, we are sorry to say—and the old Scotch Jacobite strain, "Cam' ye frae Athol ?" will display the graces of her ballad singing in the most favourable light. Mad. Novello will also introduce Handel's song, "Angels ever bright and fair," and Meyerbeer's, "Robert, toi que j'aime,' and will take part in Bishop's part-song, "Blow gentle gales," and sing the solos in the National Anthem, so that those who are present will be enabled to hear her in all styles of music. This, we believe, will positively be Mad. Clara Novello's last appearance before a Manchester public. At Bradford on the occasion of the "Farewell Concert," which was given at St. George's Hall on Wednesday evening, the 17th, the attraction was not less great nor the excitement less intense. On this performance our spirited contemporary, the Leeds Intelligencer, thus enthusiastically descants: "There is no reason why Mad. Novello should not have a final appearance before her troops of friends, as well as Mad. Lind Goldsmidt, or Mad. Grisi. She has been longer before the public than either of those celebrated artistes,* and as the "Queen of Sacred Song," she has enjoyed at least an equal repute. For many years past no great musi cal festival has been complete without her, and where managers have endeavoured to dispense with her services they have discovered that they have made a woful mistake. Great, more than merely great, both in sacred and secular music, it is in the former that she has shone most triumphantly; and it will be for her numerous successes in The Messiah that she will be most fondly remembered by all who have heard her. Even with Jenny Lind as a competitor in singing sacred music, Mad. Novello has not met with her superior, and only those who can remember Malibran, and who from fond remembrance are prejudiced in behalf of their former favourite, can prefer any claim to say that Mad. Novello does not stand first on the list of all soprano singers of sacred music. It may not be out of place here to mention that Mendelssohn, being asked to recommend the two most accomplished sopranos in Germany to the Philharmonic Society, named as one of them Mad. Clara Novello, who was then at Leipsic, and who was then Miss Clara Novello. This was, we believe, after Mad. Novello had left the stage, upon which she made her first public appearance, and had devoted herself chiefly to sacred music. The judgment of the great modern maestro has been fully borne out by the public approval, and for many years Mad. Novello has stood at the head of all sopranos in ora torio. Nor is it only in sacred pieces that Mad. Novello has sustained to the last, and not only sustained but increased, the fame of her youth; in opera and ballad music she has been almost equally successful; always at home, always charming her audiences. Especially is Mad. Novello entitled to a farewell to Bradford. Hers were the notes which first broke out upon an audience in St. George's Hall, when on the 31st of August, 1853, it was opened, and she inaugurated the ceremony with the National Anthem. Since that period she has frequently appeared in Bradford; she has been present at both festivals that have since taken place, and seems almost part and parcel of St. George's Hall. Hence, we repeat, she was especially deserving of a bumper from the Bradfordians on taking her leave of them, and on Wednesday evening she got it, with measure full and flowing over, from every part of the house." *Non è vero-Giulietta Grisi was a woman when Clara Novello was a girl.-ED. M. W. Under any other circumstances we should have been surprised at the Leeds Intelligencer passing over Herr Molique with a worda complimentary one certainly; but the occasion was unusual and the interest isolated, and the critic was bound to be partial. Miss Diana Ashton, a young pianist, residing at Durham, made her first appearance in public at a concert given by herself in the Town Hall of that city, on Tuesday evening, the 16th instant, Who the lady is, what her antecedents with very great success. (and relatives!) and what the effects of her performances, may be learned from the Durham Chronicle, bearing date October 18: "Miss Diana Ashton, daughter of Mr. Charles Ashton, of the Durham Cathedral Choir, is a pupil of the celebrated Moscheles. The expectations which had been entertained of her abilities as a pianist were fully realised; the reception she met with was most enthusiastic, and we hope to see her take a high position amongst the pianists of the day. Possessing undoubted musical genius, Miss Ashton has been in no hurry to court public renown, but wisely abstained from seeking professional honours, until she had made fitting preparations by a long course of diligent study in the Conservatorium of Music at Leipsic. The pieces she selected on Tuesday evening were the march from Wagner's Tännhauser, and Weber's sonata in C. The march from Tännhauser was not well calculated to find favour with a mixed audience, as it does not possess those rhythmical qualities-those duly regulated cadenceswhich secure for many indifferent compositions a high degree of popularity. It is, however, peculiarly adapted to test the executant powers of a pianist, and only an accomplished player can hope to surmount its difficulties with any degree of success. Amazing as were the powers of execution which Miss Ashton displayed, her merits were not confined to mechanical accomplishment, but the fire and vigour exhibited in some passages, and the softness and delicacy imparted to others, evinced good judgment, and a refined and cultivated taste. Both the march and the sonata were encored, and Miss Ashton substituted more pleasing but less difficult compositions, one of which was a beautiful and characteristic study of her famous master Moscheles." HULL. It scarcely seems twelve months since the beautiful organ, built by Messrs. Forster and Andrews, for Clowes's Chapel, Jarratt Street in this town, was opened; and yet if there be meaning in the word "anniversary," a year has really gone round. Huge bills have announced for some weeks past that on Sunday last sermons would be preached at the chapel in connection with the organ anniversary, and that on Tuesday evening there would be a musical service in the same place to celebrate the event. Now, there is something pleasant in the plan thus proposed. Music, with all its charms, is in itself a pleasure which all may enjoy with innocence. The only objections which are ever raised to its more frequent enjoyment is the difficulty of having it dissociated from that which is offensive to the tastes, opinions, and even religious convictions of very many. When it is provided in chapels and places of worship, under the sanction and with the presence of ministers, no one can fail to enjoy it. In introducing these musical services, the authorities at Clowes's Chapel have done good service. No one could listen to the thrilling choruses of Handel, and Haydn, and Mozart, without feeling how deeply it is to be regretted that in Hull we have no musical society capable of giving the oratorios and masses which have made these composers famous. There was last night a chorus of some sixty voices, under the conductorship of Mr. Stephenson, and the admirable manner in which they acquitted themselves showed in the first place that there are all the vocal elements for a good society, and secondly, that Mr. Stephenson has made good use of them. It has often been objected in Hull, that, so far as the voices are concerned, there cannot be got sufficient strength in the sopranos; and last night scarcely disproved this. The heavier voices overwhelmed the lighter ones, and the result was frequently a loss of brightness, so to speak, in the choral effect. This, however, we should suppose might be obviated by dint of some exertion, and it will be a subject of great gratification if the musical service of last night lead to the establishment of a good Sacred Harmonic Society in the town. When the organ at Clowes's Chapel was opened we took the opportunity of speaking favourably of it. The opinion then expressed we have no reason to change. It is wonderfully equal in tone, and beautifully sweet in the soft stops. Messrs. Forster and Andrews have done themselves infinite credit. Nor did it suffer under the hands of Mr. J. Rodgers, of Doncaster. He played most admirably, and brought out to the full the beauties of the instrument. The opening voluntary was an Offertoire of Wely's, delightfully rendered. This was followed by Dr. Hayes' Anthem, "the Lord descended from above," in which Miss Evison displayed a very sweet voice, and sang with Miss Newman with considerable taste. Kent's anthem, "Hear my prayer,” came next, It had been announced that the mayor would take the chair, but, in his unavoidable absence, it was well filled by the Sheriff (W. Hodge, Esq.). The Rev. Wm. Garner, the the Rev. Edward Dixon, the Rev. Mr. Medicraft, the Rev. Mr. Brownson, and the Rev. G. O'Dell successively addressed the meeting. A vote of thanks was given to the Sheriff and the singers. There was a very good attendance, and a delightful evening was spent.-Hull Advertiser, Oct. 20. LEICESTER. The restoration of St. Mary's Church is now completed, and the sacred edifice will bear comparison with any Protestant church in the country for its beautiful, simple, and original specimens of architecture. The cost has been incurred by Mr. Nevinson, a liberal subscriber to former restorations. The organ, of which we recently gave full details, has at length been erected by Messrs. Forster and Andrews, of Hull. It has an exceedingly handsome and noble appearance, the case being of carved oak, in keeping with the style of the church, and the cost, which will be defrayed by voluntary subscription, is between £500 and £600. It has three rows of keys, thirty-three registers, thirty notes of German pedals, and four composition pedals. The following is a list of the stops : 1611 Total number of Pipes ... 4 Swell to Great. 60 unimpaired by the music. The anthem "I will sing of thy power," by Dr. Greene, was rather unsteady at the commencement, but this was speedily rectified, and the performance, on the whole, was exceeding effective. The other music introduced into the morning service consisted of a Psalm, and the never-tiring "Hallelujah" from the Messiah, which, of course, was admirably rendered. The organ solos by Dr. Chipp fully deserve a separate notice. We were struck by the absence of pretension in this gentleman's playing. The opening voluntary was devotional and appropriate, and well adapted to show the suitability of the instrument for congregational music. The accompaniments were subdued and careful, while the occasional voluntaries in the course of the service showed the skill of a cultivated musician, and the adroit manipulation of a practised performer. The concluding voluntary was Handel's "Occasional Overture ". -a splendid performance, bringing out the full power of the noble instrument, and detaining a large portion of the congregation until the close. The sermon was preached by the Rev. J. Jenkins, Incumbent of Hazlewood, Derbyshire, and after the services the sum of £37 was collected. In the evening the "Magnificat" and " Nunc Dimittis" of King were performed with excellent effect. The anthem was from Mendelssohn's St. Paul, "How lovely are the messengers," introduced by a characteristic voluntary on the organ, followed in due course by the Old Hundredth Psalm, given in the plainest and simplest manner, and the last verse sung in unison. The sermon was preached by the Rev. Daniel Moore, M.A., Incumbent of Camden Church, Camberwell. 66 During the collection a voluntary was played, leading into the Hallelujah" Chorus, again most correctly and forcibly rendered by the choir. The organ, under the skilful management of Dr. Chipp, again afforded a rich treat to the lovers of sacred music. The opening voluntary was "Blest are the departed," from Spohr's Last Judgment. The voluntary during the collection especially delighted us; the delicacy and rich fancy of the composition, with the subtle combination of the various stops, rendered the whole effect most charming. The services were followed by the concluding voluntary, comprising "Worthy is the Lamb" and the "Amen" from the Messiah, with "The horse and his rider," from Israel in Egypt, inducing the congregation to stay to the last. We hope to hear Dr. Chipp again here before long, and congratulate the managers of the church in having secured so able an artist for these services. The collection at the close amounted to £41 2s. 8d. With respect to the tone of the new organ, we believe we are correct in stating that it gave unqualified satisfaction, and we understand that Dr. Chipp, who exhibited it in such a spirited and masterly manner, expressed his high approval of the instrument, observing that he had never played upon an organ of the same size that he liked better. We have great pleasure in thus recording the favourable opinion of one standing foremost in the ranks of modern organ players. To particularise, we thought the diapasons very round and smooth, the flute clear, and the mixtures sufficiently brilliant without being piercing. The reed stops, however, are the great features of the instrument, being particularly fine. The swell, which has vertical shutters, and the box of an unusual thickness, told remarkably, the crescendo and diminuendo effects being very striking. (Abridged from the Leicester Journal, October 20th.) MR. SHERIDAN KNOWLES.-Mr. G. F. Train writes to the London journals, contradicting the statement that Mr. Sheridan Knowles, the dramatist, was drowned in the wreck of the Hull steamer Arctic. Mr. Train says, "I have the great happiness of being able to say, that my esteemed friend is now near Torquay; though not so well bodily as all wish him to be, yet mentally as brilliant as ever." THE NATIONAL SUNDAY LEAGUE held a meeting on Tuesday, at The opening services to commemorate the completion of the restora- which was developed a new plan for enabling the lower classes to get tion were held on Wednesday last. The congregations were large, both into the Crystal Palace on Sundays. "Crystal Palace Share Clubs" morning and evening, a great number of the clergy being present. Dr. have been established. The following resolution was carried on the Edmund Chipp, of London, organist to the Church of the Holy Trinity, subject :-"That inasmuch as the Crystal Palace and grounds are open Westbourne Terrace, presided at the organ, assisted by a choir of about to shareholders on Sunday afternoons, and considerable numbers of the sixty voices. The indefatigable organist of the church, Miss Deacon, working classes have already become shareholders through joining the had been for some time preparing the musical arrangements, and her Crystal Palace Share Clubs, whereby they are allowed to pay for their skill and taste have been rewarded with unequivocal success. The shares by small weekly instalments, it is highly desirable that such "Te Deum" and "Jubilate " (composed by Dr. Chipp) were rendered share clubs should be encouraged and extended, in order that those who with great spirit and correctness by singers from churches and chapels cannot afford to visit the Crystal Palace on week-days may be enabled in the town. The Psalms for the day were sung by the choir, divided to do so on their only leisure day, and at the same time become part for the purpose in cathedral style into the Decani and Cantoris sides, proprietors in that magnificent institution, which is so eminently calcuwhich chanted alternate verses. We were much pleased with the point-lated to promote the intellectual, moral, and social improvement of the ing of the Psalms, which preserved the proper expression of the words people." |