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BRINLEY RICHARDS'S

"BLIND MAN AND NEW PIANOFORTE MUSIC

SUMMER." Sung by Miss Palmer. Price 2s. 6d. London: Duncan Davison and Co., 244, Regent-street, W.

REICHARDT'S "THOU ART SO NEAR AND YET

SO FAR," sung by the Composer, with the most distinguished success, is published, price 3s., by Duncan Davison and Co., 244, Regent-street, W.

REICHARDT'S "ARE THEY MEANT BUT TO

DECEIVE ME," sung with the greatest éclat by the composer is published, price 2s. 6d., by Duncan Davison and Co., 244, Regent-street, W,

FOR THE

DRAWING ROOM.

GOLLMICK.

"I

WOULD I WERE A BUTTERFLY."

The New

Song composed by ADOLPH SCHLOESSER, now singing with the
s. d.
greatest success by Madame Lemmens Sherrington, is published, price 2s. 6d., by Vive la Danse, Valse... 3 0 | Bellona, Fest March
Duncan Davison and Co., 244, Regent-street, London, W.

"THE
HE ARROW AND THE SONG," New Four-Part-

Song for Male Voices (two tenors and two basses), sung with great success by Mr. Henry Leslie's Choir, and enthusiastically encored, is published, price 2s. (separate vocal parts, 6d. each), by Duncan Davison and Co., 244, Regentstreet, W.

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I try to sing-my voice is sad!

I sleep! bnt then 'tis just as bad-
Such gloomy things I dream on!
Can you not tell? nor you? nor you?
Oh then I know not what to do
To charm away the demon.

I sometimes think, if "I know who"
Were here, he'd tell me what to do,

To bid the demon slumber!

Could I but hear his voice again,

I'm sure 'twould cheer my heart-but then
"I'm not in love, remember!"

I'm not in love, remember.

London: Duncan Davison, & Co., 241, Regent-street, W

Belinda, Nocturne
Jeu d' Esprit, Caprice

Thou art so near
Dinorah

...

s. d.

30

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Pauline, Mazurka de
Salon

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Les Boutons de Roses
Souvenir du Rigi

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Deodora, Caprice

Fleurs Animées

RICHARDS.

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Nelly Gray
Shadow Air, Dinorah... 30
The Power of Love

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Bolero "Les Vespers " 30

OURY.

Valse Sympathique

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Les Vêpres Siciliennes. 5 0

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46

"THE WORTH OF ART APPEARS MOST EMINENT IN MUSIC, SINCE IT REQUIRES NO MATERIAL, NO SUBJECT-MATTER, WHOSE EFFECT MUST BE DEDUCTED. IT IS WHOLLY FORM AND POWER, AND IT RAISES AND ENNOBLES WHATEVER IT EXPRESSES."—Göthe. SUBSCRIPTION:-Stamped for Postage, 20s. per annum-Payable in advance, by Cash or Post Office Order, to BOOSEY & SONS, 28, Holles Street, Cavendish Square.

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UNDER THE MOST DISTINGUISHED PATRONAGE OF
HER MOST GRACIOUS MAJESTY THE QUEEN,
H.R.H. THE PRINCE CONSORT,

THEIR ROYAL HIGHNESSES THE PRINCESSES AND PRINCES OF THE
ROYAL FAMILY,

The Most Worshipful the Grand Master of Ireland,
His Grace the DUKE of LEINSTER,

And Several other Distinguished Freemasons;
His Excellency the Lord Lieutenant of Ireland, the
EARL of EGLINTON and WINTON,

The LORD BISHOP OF MANCHESTER,

The Right Worshipful the MAYOR OF MANCHESTER,
IVIE MACKIE. Esq.

His Worship the Mayor of Salford, W. HARVEY, Esq.

SIR FREDERICK GORE OUSELEY, Bart., Director of Music at the
University of Oxford.

And many of the Nobility, Gentry, Clergy, and distinguished Families of the Empire
DR. MARK'S

GREAT NATIONAL ENTERPRISE
Organised in 1848, and developed at THE ROYAL COLLEGE OF MUSIC
BRIDGE STREET, MANCHESTER, established by him expres-ly as a Great
National Institution to facilitate the Encouragement and Promotion of NATIVE
MUSICAL TALENT, and the GENERAL ADVANCEMENT OF MUSIC
AMONG THE RISING GENERATION, upon his new and effective system,
also as a NORMAL SCHOOL for the training of masters to conduct CONSERVATOIRES
MUSIC to be established throughout the United Kingdom, for LITTLE
CHILDREN, the whole comprising an entirely new scheme of NATIONAL
EDUCATION, by blending music with general instruction, so that the study

OF

CHOPIN'S

PRICE 4d. STAMPED 5d.

MAZURKAS.

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of music shall become a branch of education in the humblest of schools of this JUST PUBLISHED. "There's nothing like a freshening

country. To illustrate and to rouse an interest in every town and city for these
institutions, Dr. Mark travels with a number of his pupils occasionally through
the country-giving lectures, and introducing his highly approved and pleasing
Musical Entertainment, entitled DR MARK AND HIS LITTLE MEN, who
number upwards of Thirty Instrumentalists, and a most Efficient Chorus, the
whole forming a most unique and complete Juvenile Orchestra, composed of
LITTLE ENGLISH, IRISH. SCOTCH AND WELCH BOYS, FROM FIVE TO
SIXTEEN YEARS OF AGE, who play Operatic Selections, Solos, Marches,
Quadrilles, Galops. &c., and sing Songs and Choruses in a most effective manner,
and to whom Dr. Mark gives a gratuitous General and Musical Education.
APPOINTMENTS OF MASTERS AND ARRANGEMENTS OF CLASSES IN
THE ABOVE INSTITUTION.

Principal of the Royal College of Music; Director, Composer, and
Conductor; Lecturer to both Private and Public, Theoretical Dr. MARK.
and Practical Instrumental and Vocal Classes
Master of the General Educational Department:
Writing, Reading, Arithmetic, Grammar, Dictation,
History, Geography, Practical Geometry, and Book-
keeping

Organ
Pianoforte

Violin

Mr. POWELL
and Two

Assistant Teachers.

"PRACTICAL ASSISTANT TEACHERS.

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Violoncello, Double Bass, and Viola
Flute, Piccolo, Oboe, and Clarionet
Cornet and other Brass Instruments
Concertina (German and English)
Vocal Classes..

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Dr. MARK has also made provision for the Orphans of the Musical Profession possessing musical talent, who will find the above institution a happy home, and receive a most effective general and musical education, board, and clothing, free of all expense.

breeze, new song by Alberto Randegger, composed for and sung with the greatest success by Mr. Thomas, when on his last tour, and always encored. Boosey and Sons, 28, Holles-street.

THE VOCAL ASSOCIATION, ST. JAMES'S HALL

Conductor, M. BENEDICT.-On Wednesday, Feb. 15th, at eight, Mondelssohn's Psalm "Hear my Prayer, O God," for soprano, solo and chorus. SoloMadile. Euphrosyne Parepa. Also new Part-songs by Benedict, Otto Goldschmidt, Henry smart and Francesco Berger, by the choir of 200 voices. Tickets, 1s., 3s., and 5s., at St. James's Hall ticket office, 28, Piccadilly.

MYI

YDDLETON HALL, ISLINGTON-NORTH LONDON MONDAY POPULAR CONCERTS. First of the series, Monday Monday evening next. the 6th Feb., 1860. Artists: Mad. Louisa Vinning, Malle. Vaneri. Miss Fanny Reeves, Miss Messent, Mr. Allan Irving, J. G. Patey, and Elliot Guler, Viotti Collins. Medora Collins, J. D. Davies (harpist), R. Glenn Wesley. Conductor, Mr Frauk Mori. Admission one shi.ling and two shillings.

MEYERBEER'S DINORAH AND STERNDALE

BENNETT'S MAY QUEEN, are sung nightly at the CANTERBURY HALL CONCERTS. Comic vocalists-Messrs. George Hodson (the Irish comedian and mimic), W. J. Critchfleid and E. W. Mackney. Several interesting pictures are added to the Fine Arts Gallery. The suite of Halls have been re-decorated and beautified, and constitute one of the most unique and brilliant sights of the metropolis.

THE
THE BAY OF DUBLIN QUADRILLES, on Irish
Melodies by Wellington Guernsey, as performed by the bands of the Cold-
stream Guards, Royal Artillery, &c., has become one of the most popular of the
day Price 3s. Beware of spurious imitations. London: Brewer and Co.

ISS EMILY GRESHAM, Soprano. Letters re

MT

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Little Boys, from five to nine years of age, apprenticed for three, five, or seven pecting engagements for oratorios and concerts, to be addressed, 20, Alfredyears by paying a moderate entrance fee to cover the expenses of instrument and terrace, Queen's-road, Bayswater. W. books.

Twelve appointments ready for Masters.

For Prospectuses, apply direct to the Royal College of Music, Bridge-street, TO, VOLUNTEER RIFLE CORPS.-Boosey and Sons

Manchester.

Dr. MARK is also open to Engagements with his Little Men.

Dr. MARK begs to invite the Parents and Friends, and all those interested in his Enterprise and in the Education of the Youths of this country to visit his establishment. Visiting hours:-From Nine to Eleven, a.m., and Two and Four, p.m. Saturdays and Sundays excepted.

military band instruments, reed and brass, as well as bugles, drums and fifes, have been used and approved of by almost every regiment in the service, at home and abroad. Those regiments that contemp ate the formation of a band. are invited to apply to the firm, who will be happy to recommend them competent bandmasters, and render any further assistance that may be required.-Boosey and Sons, Holles-street, London.

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In presenting this prospectus, the projectors of this Association deem it worthy of remark that a great want is felt by a countless number of amateurs possessing musical knowledge and capability of a society which would afford them ample opportunity of acquiring, at a moderate cost, a complete knowledge of the beauty and grandeur of the choicest and recognized orchestral compositions of this and previous periods.

The object of this Association is to bring together the amateur instrumentalists of London and its suburbs, for the practice and performance of oratorios, masses, cantatas, symphonies, operatic selections, and overtures, including compositions but little known to the general public, with other chef-d'oeuvres of the great masters, suitable for band and chorus conjointly or separately.

For the benefit of the amateur department, weekly rehearsals will be held on every Saturday Evening, at Eight o'clock, at the Architectural Gallery, VUQ Conduit Street, Regent-street, and during the season, concerts will be given at one of the large theatres or concert-rooms, with the important sistance of the honorary professional members, and in conjunction with the chorus, as soon as the necessary proficiency is attained.

PEN

In the professional department there are still vacancies for honorary members for the following instruments:-Four first violins, one second violin, and two violas

All communications to be addressed to the Honorary Secretary of the London Orohestral Association, 9, Conduit-street, Regent-street, W.

H. J. BRAHAM, Hon. Sec.

THE CONSERVATIVE LAND SOCIETY.

OFFICES-33, Norfolk-street, Strand, London, W.C. TRUSTEES. The Viscount RANELAGH. J. C. COBBOLD, Esq., M.P. SHARE DEPARTMENT.-The present rate of Interest, payable half-yearly, on Shares is five per cent., per annum, with power of withdrawal of subscription at ten days' notice, and participation in any bonus declared above the ordinary interest. No partnership liability. The taking of land is quite optional.

DEPOSIT DEPARTMENT.-Sums, large or small, may be deposited at the Offices daily. Interest allowed is now four per cent., per annum, payable halfyearly. Withdrawals of deposits paid every Wednesday, under £100; from £100 to £500, at 21 days; and £500 and upwards on one month's notice. Investors under the Deposit Department do not become members of the Society. Remittances may be made in cheques, half-notes, post office orders, &c.

LAND DEPARTMENT-Freehold plots on valuable Estates are now on sale, the taker of each plot being allowed to borrow seven-eighths of the purchasemoney, payable in easy monthly instalments. Plans of the Estates, price 6d. each, or 7d. by post, will be sent to any part of the United Kingdom. Advances for Building on liberal terms.

BORROWING DEPARTMENT.-Repayment of Building Advances, and of loans, on scales of three, five, seven, and ten years, by monthly, quarterly, or yearly instalments. On less periods than three years, special arrangements can be made.

Prospectuses will be sent free of charge to any part of the world.
CHARLES LEWIS GRUNEISEN, Secretary.

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IMP

MPORTANT.-To be disposed of, immediately, a wellestablished Music Practice, including New Organ at good salary, in a Town of upwards of 40,000 inhabitants, and surrounded by large populations. The Advertiser is about to leave the kingdom. Apply, by letter only, to the care of Messrs. Addison and Co., 210, Regent-street, London, W.

MONSIEUR ET MADAM RIEDER beg to announce

that they have arrived in London, where they intend passing the season. Letters respecting lessons or engagements, may be addresse i to the care of Messrs. Chappell & Co., 50, Bond-street; or Messrs. Schott & Co., of 159, Regent-street.

WANTED, immediately, a Pupil in a Musical Establish

ment, where he will have an opportunity of acquiring a thorough knowledge of the profession in all its branches, Apply to Herr Winzer, Newcastle, Staffordshire.

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Oh, Dennis, dear, the wintry blast
Is sighing through the willow,
And still you said you'd come again
Ere Autumn leaves were yellow.
Oh must I wear the willow branch?
The sad forsaken willow;
I'd rather far the whisper'ng grass
Waved o'er my lonely pillow.

How tender were the words you spoke,
Dear Dennis, when we parted.
The hopes you breathed while still to you
I clung nigh broken-hearted.
You kiss'd away my tears, and said
You'd come ne'er more to sever-
Ere yellow were the Autumn leaves,
I'd be thine own for ever.

My heart is sore with trembling fear,
Oh, Dennis, can'st thou leave me,
All hope is fading in my soul-

I die, if you deceive me.

But list! what, stirs the willow boughs?
Who steps across the river?

Oh, Dennis, 'tis thine own dear self,
Oh, Dennis, thine for ever.

BOOSEY & SONS, Holles-street.

REVIEWS.

has for substantial reasons not been overlooked by Mr. Hills, THE Sonatas and other instrumental works of Beethoven-although he has erroneously marked it "Op. 52." have long been procurable, in various editions more or less

complete, by the English amateur and professor of music;

but his songs-which, whatever some critics may assert, comprise just as many beauties in their way--have been very sparsely circulated, and comparatively little known. They have never been collected and published, with or without English text, under one head, so as to be used or referred to without inconvenience. The recent appearance, therefore, of a volume which, to judge from its title-page, was evidently prepared with so desirable an object in contemplation, must have elicited unanimous satisfaction. Such a volume must set matters right, and place Beethoven's vocal music-among lovers of art in this country, where his name is unanimously revered on the same familiar footing as his instrumental compositions. We believe that this conviction tended to bring the new work into considerable vogue; and it has hitherto passed muster without a question as to the integrity of purpose, and high respect for Beethoven, that should have swayed its projectors in the course of its progress through the

press.

The grand scena, for soprano voice, and orchestra—“ Ah, with pianoforte accompaniment,* is omitted from The Songs perfido" (Op. 48)—although arranged by Beethoven himself

of Beethoven.

The veritable Op. 52-which comprises, in Simrock's catalogue,† eight songs—

"8 Lieder, mit Begleitung des piano, von Claudius, Sophie Mereau, Goethe, Bürger, and Lessing"

and to which the catalogue of Peterst adds four others— is more fortunate. In his collection of 31 songs, Mr. Hills has included eight of these-viz. :

No. 2-"Feuerfarb" (Sophie Mereau.)

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3-" Das Liedchen von der Ruhe" ́ (Bürger.)

4-" Maigesang" (Goethe.)

5-" Molly's Abschied" (Bürger.)

7-" Marmotte" (Savoyard Song.)

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6-" Ohne Liebe" (Lessing.)

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7- "La Partenza" (Metastasio.)
8-"Ich liebe dich."

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thus abandoning no less than four out of the series, which, with the six Geistliche Lieder and "Ah, perfido," already brings his sins of omission to the number of eleven.

From the renowned Op. 75, dedicated to the Princess Kinski;§"

"Sechs Lieder, mit Begleitung des piano, von Goethe"Mr. Hills has appropriated the four which have attained the greatest measure of popularity-viz :

-

No. 1.-"Kennst du das Land" (Mignon's song in Wilhelm Meister.) 2.-"Neue Liebe, neue Leben."

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3.-"Es war einmal ein König" (The Song of the Flea,” in Faust.) 1. Arturs Warning" (Faust.) —

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"The Songs of Beethoven," with the original text-edited and adapted to English words by William Hills-is the publication to which we allude. We have but one charge to prefer against it; but that one is of a tolerably serious complexion. The Songs of Beethoven is a palpable misnomer -doubtless unintended, but not the less calculated to deceive. There are not above half the songs. We allude, of course, to the isolated songs-derived neither from opera nor cantata, from oratorio nor from any sacred or secular compositions on an extended scale, but merely songs per se, composed and published without reference to any context. Had Mr. throwing aside two, however-" An den fernen Geliebten " Hills entitled his work-A Selection from Beethoven's Songs, (which must not be confounded with the more celebrated or The Songs of Beethoven-Vol. I.-leaving it to be under-Liederkreis), and "Der Zufriedne," of almost equal merit. stood that another volume might follow in due course, there Thirteen songs omitted from "THE songs, &c." But we would have been no objection to make; but as the matter have not yet nearly achieved our task. stands, we must strongly protest against such a title as he has invented being affixed to a compilation manifestly incomplete. It is as well, however, to substantiate our accusation against Mr. Hills by a few facts and data. The interesting Catalogue ("Critical, Analogical, and the English editor has selected two-viz. :— Anecdotal") of Beethoven's compositions, drawn up by Herr W. von Lenz (in his enthusiastic treatise, entitled Beethoven et ses Trois Styles), and divided into four sections-the first under the category of numbered works (Opera), the second under that of numbers only, the third and fourth under that of letters—enumerates all the chamber songs of the great

musician. Let us take them as we find them there :

"Sechs geistliche Lieder, von Gellert," Op. 32.

Of these songs (dedicated to the Countess Browne, the wife of one of Beethoven's stanch adherents, to whom the set of trios for violin, viola and violoncello, and the pianoforte sonata in B flat, Op. 22, are inscribed) the volume of Mr. Hills (although bearing the comprehensive title of The Songs of Beethoven) does not contain a single example. One of them the Busslied (in A minor)—is remarkable as having been arranged by Prince Nicholas Galitzin (to whom the socalled "Posthumous" quartets in E flat, B flat, and A minor, are inscribed) as a funereal quintet, dedicated to the "manes” of the illustrious composer.

The next reference in Herr Lenz's catalogue is to the famous "Adelaida," Op. 46, which, we need scarcely add,

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From Op. 83 (dedicated to the Princess Kinski) -
"Drei Lieder, von Goethe, mit Begleitung des Piano, von Goethe,"

Mr. Hills has taken all, but only placing the first (composed
"Bettina")—"
"Wonne der Wehmuth, trocknet nicht
Thränen "-under the accredited opus-attaching to the
The orchestral arrangement, in the catalogues of Whistling
Artaria, and Breitkop', is numbered Op. 65; but Herr Lenz thinks
catalogue of Peters, is affixed to the pianoforte adaptation.
bimself justified in preferring and adopting the opus which, in the

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third-" Mit einem gemahlten Bande" - the name of Reissig (instead of Goethe) as poet-confounding it, probably, with some other song; and giving to the second-the well known Sehnsucht-"Was zieht mir das Herz so?"—no opus at all.

Omission, No. 17, is" An die Hoffnung "-song to poetry, by Tiedge (dedicated to Princess Kinski), Op. 94. An die ferne Geliebte" (Leiderkreis, or cycle of sougs), to texts of Jeitteles, dedicated to Prince Lobkowitz *, one of the most constant and liberal of Beethoven's patrons (Op. 98); and "Der mann von Wort," words by Kleinschmidt (Op. 99), are appropriated by Mr. Hills, who, it may be added, has done wisely not to ignore them. especially the incomparably beautiful Liederkreis, justly styled, by Robert Schumann, the most intensely passionate of all love songs. The eighteenth omission of Mr. Hills is Op. 100:

"Merkenstein nächst Baden, Gedicht von Ruprecht, für eine oder zwei Singstimmen, mit piano."

"Der Kuss"-(words by Weisse)—

"Ich war bei Chloen ganz allein”†— ariette für ein Sopran. stimme mit piano

which, although marked Op. 128, is evidently an early work; "Der Wachtelschlag" ("Song of the Quail"), to a poem by Tiedge (placed by Lenz in his second section, as No. 24, but in the catalogue of Whistling, as Op. 24. together with the noble sonata in F major for pianoforte and violin); and a second "An die Hoffnung," poetry also by Tiedge, marked No. 32 by Lenz (Op. 52, by Peters); are all comprised by Mr. Hiils in his collection; as also No. 38-"Die Sehnsucht"-consisting of four short melodies (Goethe) with pianoforte accompaniment. The Blümchen der Einsamkeit (Flowrets of Solitude"), six songs to Reissig's words (third section-letter A-Lenz's Catalogue) :— No. 1.-"Die stille Nacht" (Sehnsucht)

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2.-"Ich zieh' ins Feld" (Kriegers Abschied)

3. -"Der Frühling euthlütet" (Der Jungling in der Fremde)
4. -"Einst wohnten süsse Run" (Anden fernen Geliebten-
No. 3)

5.-"Zawr schuf das Glück" (Der Zufriedene)

6.-"Welch' ein wunderbares Leben" (Der Liebende)swell out the omissions to no less than four-and-twenty, which, added to several other fugitive pieces, to be found lettered in the third and fourth sections of Lenz's catalogue, form an important gap in the catalogue of Beethoven's songs, and justify us in protesting against the title-page with which Mr. Hills has dignified his thus very incomplete, however otherwise satisfactory, edition. Among the lesser known songs, Mr. Hills has included "An die Geliebte" (text of Stoll); "Das Geheimniss" (text of Wessenberg) ; "Als mir noch die Thräne der Sehnsucht nicht floss" (anonymous); "Ich denke dein, wenn durch den Hain" ("Andenken"), words by Matthison, the poet, of "Adelaida" (Op. 72, the same opus as Fideliot-which Lenz places in his third section); "Der Lebt ein Leben wonniglich" (Lebensglück--" Sympathy"), poetry by Kosegarten, or-as Lenz makes it out by Tiedge; and "Wenn die sonne nieder sinket," an Abendlied ("Evening song), which though marked Op. 103, is not named by Lenz, who arriving at that opus says briefly: "Il n'y a pas d'opera, 103." On the other hand, while inserting a piece of the existence To whom are also dedicated the Six Quartets, Op. 18, and other works of great interest.

+ Introduced (although written for a soprano voice) with such success by Mr. Sims Reeves at the Monday Popular Concerts. Eleonore, on die eheliche Liebe.

of which even the enthusiastic author of Les Trois Styles seems, unaware, Mr Hills strangely omits one of the most widely known of all the songs of Beethoven-the contralto air, to the words of Haydn's Italian biographer, the Abbé Carpani, the very popular "In questa tomba oscura."

With regard to the general correctness of the musical text, and the manner in which the German words are done into English verse (remarkable alike for freedom and elegance), we have only unreserved praise to award; and if Mr. Hills will publish the second edition, which we feel sure awaits his work, as "The Songs of Beethoven, Vol. I.," and insert a promissory note for the speedy appearance of Vol. II., we shall be happy to cancel the foregoing somewhat critical analysis, and write another in a different tone Meanwhile, in so important a matter as the works of Beethoven, the musical public must not be deceived.

MUSIC AND THEATRES IN PARIS.
(From Our Own Correspondent.)

February 1st. GOOD music, like wine, acquires a still finer tone from age, and the musical port that has just been brought from its cell, after a seclusion of more than fifteen years-for it is as long as that since the Matrimonio Segreto of Cimarosa has been performed in Paris-is no exception to the rule. When this opera was last played, Lablache filled the part of Geronimo; it is Signor Zucchini who has now the difficult task assigned him of assuming the character after him. The parts of the two sisters and the aunt, Carolina, Lisetta, Fidalma, are performed by the Signoras Alboni, Penco, and Dottini. The other principal parts are filled by Signori Gardoni and Badiali. The trio of the first act, with the fine air Gardoni sings, "Pria che spunti," to give unmitigated satisfaction. It is now sixty-nine years, Uvtalucu an encore, und indeed the cutre performance seemed since Cimarosa composed the Matrimonio Segreto. At the Grand Opera, the rehearsals of Prince Poniatowski's opera, Pierre de Médicis, which were interrupted momentarily by the loss of M. Girard, are going on with renewed vigour. It is on the production of this composition that M. Dietsch will enter on his new functions. The representation at the Opéra-Comique, by particular desire, of the Pardon de Ploërmel, on the 22nd, was attended with the greatest success. overflowing house, large receipts, and immense success to the artists. It is only natural that, with these results, the managers should avail themselves of these extra performances; so the Pardon de Ploërmel was again given on the 29th without detriment to the week-day performances. They announce in their bills a new comic opera, to be given next Saturday. It is in three acts, the libretto by MM. A. Dumas and De Leuven, the music by M. Ambroise Thomas. The title is Le Roman d'Elvira. The indisposition of M. Faure has obliged the management to defer their project of bringing out Don Juan; indeed, M. Troy is still singing his part in the Pardon de Ploërmel. The following paragraph that I extract from Le Nord seems to put an end to the rumours that have been circulated lately relative to a change in the management of the Opéra-Comique :

An

"The affair relative to the sale of the Opéra-Comique has not been concluded. They say that the shareholders have disbursed fresh sums, to insure the future direction of the theatre remaining in the hands of the present manager."

The little operetta in one act (the music by M. Henri Caspar, the libretto by M. H. Cremieux), brought out on the 21st at the dialogue is not wanting in wit either. There is nothing very Théâtre-Lyrique, is a gay and sparkling little composition; the original in the tale, which runs somewhat thus:-Mdlle. Gabrielle has been sent for home by her aunt the Marquise d'Ambert, of whom she stands in great awe -to be married. To whom, she knows not, and is told not to trouble her head about it. As she is journeying home

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