THE SISTERS MARCHISIO.

THE new celebrities of song, Mlles. Carlotta and Barbara Marchisio, who recently came out at the Grand Opera of Paris, in Semiramis, with such brilliant success-were born at Turin, and are derived from a family of distinguished artists, which included musicians of great ability. One brother, Antonio Marchisio, was a composer of note, and Joseph, a pianist of the first class. From their earliest years both sisters manifested an extraordinary aptitude for music, and this was encouraged by both brothers, who did all in their power to develope their talent to its fullest extent. Antonio gave them all the instruction he was enabled to do, and when he and Joseph discovered that both Carlotta and Barbara in their extreme girlhood had beautiful voices, they placed them under the most efficient singing-masters. Their progress was remarkable. In a brief space of time they became the vocal wonder of their native place, and were sought for with the utmost eagerness at the mansions of the aristocratic and wealthy. After restricting their performances for several years to the concert-room and private parties, the sisters were at last induced to try the stage, and here a new career of honour and prosperity opened for them. They visited the chief cities of Italy and Spain, and sang at all the principal theatres, including the Scala at Naples, the Fenice at Venice, the first operas at Rome, Turin, Trieste, &c. &c. Fame crowned them wherever they appeared. Their singing was the admiration of all who heard them, and their reputation spread far and wide. More especially were their ensemble performances the theme of wonder and delight. Nothing so perfect, so harmoniMoreover, they were mistresses of all styles of singing-as capable ously blended, it was said, had been remembered in duet singing. in florid as in plain music-in the classical as the romantic-in Mozart and Rossini as in Donizetti, Meyerbeer and Verdi. They performed in all kinds of operas, and their reputation gained ground with every successive representation. Rumour was not slow in wafting their names to the French capital, and the manager of the Grand Opera, having had additional information of a private nature respecting the merits of the fair artists, at once engaged them to play the two principal characters in the French version of Rossini's Semiramide, then about to be produced. Indeed it is doubtful if the opera would have been brought out but for the sisters Marchisio, whose Assyrian Queen and Arsace respectively, were highly eulogised by the leading authorities of the Parisian press, and received by the public with acclamations. The above drawing represents the sisters as in the act of singing "Giorno d'orrore," in the grand duet "Ebben, a te ferisci," which was nightly the culminating point of their performance.

"Shwalbach, le 12 Août, 1860.

"Absent de Berlin depuis un mois et voyageant presque continuellement depuis cette époque, ce n'est que hier que m'est parvenue la lettre que vous m'avez addressée à Berlin.

"Je ne saurais vous exprimer, Messieurs, combien je suis touché de l'honneur que vous projetez de me faire, en voulant donner mon nom à la nouvelle promenade de Barisart à la Géronstère.

"Cette marque de sympathie me flatte d'autant plus, qu'elle me vient de cette ville de Spa, si chère à mon cœur ; car je dois à ses sources bienfaisantes l'affermissement de ma santé ; à ses sites pittoresques des inspirations et doux loisirs; à ses habitants un accueil cordial et bienveillant depuis un grand nombre d'années.

"Cette nouvelle expression des sympathies que vous me portez ne saurait augmenter davantage mon attachement et ma reconnaissance pour Spa, sentiments gravés depuis longtemps dans mon cœur ; mais c'est un lien de plus qui m'attache à votre ville dont j'ose presque me regarder comme l'enfant adoptif, croyance que vous venez de fortifier, en inscrivant mon nom sur l'une de vos promenades.

"Veuillez agréer, Messieurs, l'expression des sentiments les plus distingués de votre très-dévoué et reconnaissant,

"G. MEYERBEER."

THE PLYMOUTH FESTIVAL.- The Oratorio of Elijah, writes the Plymouth Mail, of date October 31, was chosen as the opening performance on Monday evening last. It rarely happens that we have an opportunity in the provinces of hearing any of the oratorios beyond the Messiah. Mendelssohn's great work, therefore, was the more enjoyable. Some objection was raised to the selection of the theatre for an oratorio, and although we shared in the exception, not so much on a question of religion as of taste, we admit the force of the argument, that while the theatre would accommodate more persons, it would admit also of such varieties in the prices as to place the oratorio within the reach of working men. Our appreciation of this attempt to perform Elijah, and our acknowledgment that on Monday evening every one appeared to do their best, will be sufficient at present. The principal singers were Madame Weiss, Miss Huddart, Mr. Wilby Cooper, and Mr. Weiss, all of whom acquitted themselves to the entire satisfaction of a crowded and fashionable audience. The Messiah was performed on Wednesday.

LEEDS.-(From our own Correspondent.) - MAD. CLARA NOVELLO'S FAREWELL CONCERT.--Last Monday, Mad. Clara Novello sang for the last time before a Leeds audience, and was greeted by one of the largest and most brilliant assemblies with which our noble town hall has ever been graced. The Messiah was selected for the display of her lovely voice and rare talents; and long will it be ere the impression be erased which her delivery of "I know that my Redeemer liveth" created in the minds of her numerous auditors. It was absolutely perfect vocalism, and deep is the regret here that such a singer should depart from our midst, leaving a void which for years, perhaps, will not be filled up. Mad. Clara Novello carries with her the veneration of all who can be moved by sweet sounds.-The Committee of the Leeds Town Hall Conattractions were Mrs. Sunderland and the band of the West Riding cert Society are keeping good faith with their subscribers and the public. Last Saturday-the fourth concert for the season-the Orchestral Union, led by Mr. G. Haddock, and conducted by Mr. I'll follow thee." The band, although small, was excellent in all Spark. Mrs. Sunderland was admirable in Mr. Farmer's song, its departments, and the execution of Mendelssohn's magnificent overture, Ruy Blas, was one of the finest we have heard in the provinces. Mr. Haddock, of Liverpool, played a violoncello solo, The other pieces worth notice were the on "Robert le diable." andante from Haydn's Surprise symphony, a selection from Flotow's Martha, and the grand March from Athalie. Mr. Spark

conducted.

A WELL-MERITED SUBSCRIPTION. (From Punch.)

"HULLAH want money! Come, all folks with throats, Show that he's taught you to bring out your notes."

THE BISHOP OF RIPON ON CHURCH MUSIC.-A letter, recently written by the Bishop of Ripon on the subject of church music, excited much attention in his diocese. On Friday last his lordship returned to the subject at Wakefield, at a soirée of the Church Institution, at which he presided. He said that the praises of God were amongst the most hallowed and delightful exercises of religious worship in which they could engage; and whatever they did in the service of God should be done without stint, and with an earnest desire to glorify God by bringing into his service all the powers with which He had entrusted them. But what did he mean by church music? He did not mean such elaborate and artistic music as could only be practised by comparatively very few out of the congregation-music of such a kind that the exercise of it was monopolised by a very privileged few; the greater part of the congregation being turned into passive listeners or admirers of the exquisite skill of those who performed. He enjoyed music as much as any one, but there was a time and place for everything, and the house of God was not the place for fine solo performers. Church music, in its finest, noblest aspect, was such music as all could unite in, so that it became the vehicle for the praises of the whole congregation to ascend as grateful incense to heaven. Wherever they had an opposite system introduced,—such a system as he had unhappily witnessed, he would not say where; such a system as was in force at places where solo performers stood out from the rest of the choir and sung, very beautifully he admitted, but very much out of their place, whilst the congregation was listening in wrapt attention, he said that there the church was converted into a concert room, and he regarded it as little better than a profanation of the house of God. It was very hard to speak so as to be understood, and some who heard him might take what he said to be hostile to the cultivation of music. He meant no such thing. Let them cultivate music as much as they wished. He hoped that every one would learn to sing the praise of God, and that in all the churches throughout the country there might be more attention on the part of the congregation to the cultivation of church music; but then, if it were to be truly church music, it must be such as the whole congregation could join in. The bishop was frequently applauded during the delivery of these remarks. From our Correspondent.

BELFAST. The Society of the Classical Harmonists" gave the first of the two inaugural concerts of their tenth season last night (Oct. 25), in the Victoria Hall, to an extremely large audience. The room, indeed, was crowded in every part. Handel's serenata, Acis and Galatea, was reproduced a new cantata, by the conductor, Mr. George B. Allen, performed for the first time, and a miscellaneous selection, terminated the evening. The vocalists were-Miss Theresa Jeffreys, Mr. and Mrs. Winn, and Mr. Montem Smith; special instrumentalists-Mr. T. Harper, trumpet; and Mr. R. Blagrove, concertina. Full justice was rendered by the society to the delicate and graceful orchestration which, originated by Handel and elaborated by Mozart, makes this serenata one of the most charming productions which ever emanated from musical genius. In the choruses the members distinguished themselves by a precision and clearness which do infinite credit to the talent of their conductor and to their own industry. Miss Jeffreys, of course, took the soprano part, and Mr. M. Smith the tenor; Polyphemus being represented by Mr. Winn, whose bass voice is well suited to the melodious thunder of the love-sick giant. The great interest of the evening, however, and, we may add, the great success, was Mr. Allen's cantata, England's Star of Freedom, which, more than any composition of his yet produced, will, we believe, tend to establish his name. There is about it an originality and spirit-an animation of style, combined with solidity, which entitle it to rank high among compositions of its class. The symphony is not long, but full of spirit and fiue effects; and the opening recitative for the tenor is dignified and expressive. The air, "Star of Freedom!" comes in with a power and animation, and has a martial vigour about it, which quite carried away the audience, and which constitute it a splendid song for a tenor voice. Mr. Montem Smith sang it extremely well, and threw into it the fire and enthusiasm it requires. He also sang the succeeding accompanied recitative well, and then came the grand chorus-"Eng land, ask thy mighty heart!" which proved Mr. Allen to be competent to write for masses of voices as well as for instruments. The words of the cantata are by Mr. W. Ball, and are very good. In all his writings, Mr. Allen is sure to be guided by sound principles of art, but he possesses as well the originality and beauty of idea requisite to musi

cal composition; and to conduct, as he did last night, a composition of his own of such talent, performed with such ability by amateurs whose training has been under his direction, was a position of which any musician might be proud. In the miscellaneous selection the noticeable points were Mr. Harper's magnificent trumpet playing, a solo on the concertina by Mr. Blagrove, Miss Jeffrey's "Let the Bright Seraphim," with the trumpet obligato, by Mr. Harper, Mrs. Winn's "Border Song," and Mr. Winn's "The brave old Temeraire."

No experiment could have been more successful than that made by the Society of the Classical Harmonists of giving cheap performances of high-class music for the benefit of the respectable class of society which cannot afford high-priced entertainments, yet is as capable of enjoying them as their wealthier fellow-mortals. From the first, these "people's concerts have been a success, and in every respect most worthily so, and not many pleasanter sights are to be seen than the crowd of upturned, attentive, rapt faces when the "Hallelujah" is swelling through the building, and teaching the most indifferent heart how grand a thing is worship. The crowds who came to these performances, their profound attention, and their quick appreciation, show us how much to the taste of the lower class is elevated music, and make us, while acknowledging due, wish that those opportunities could be more frequent. the services of the society to whose exertions such rare opportunities are

Last night (Oct 26th), The Messiah was given with great success-so far as regards the society, indeed, with greater success, perhaps, than any oratorio we have yet had in Belfast. The choruses went with steadiness and vigour, and, in the more difficult and intricate passages especially, were given with a clearness and firm precision highly creditable to the conductor and members. Miss Jeffreys, Mr. and Mrs. Winn, and Mr. M. Smith took the solos. The soprano music is a little high for Miss Jeffrey's voice, but she sang "I know that my Redeemer liveth" with considerable power and expression. Mrs. Winn gave her solos with correctness and smoothness. The tenor recitatives and airs were excellently given by Mr. M. Smith, who was in good voice, and sang with freedom and ease. In the air, "Thou shalt break them,"

particularly, he showed the good quality of his voice, and took his high done justice to by Mr. Winn's steady, even voice and correct style; and notes without any straining. The grand bass airs in this oratorio were "The Trumpet shall sound," with Mr. Harper's trumpet accompaniment, was among the best performances of that air which we have ever heard. Mr. Harper, of course, plays his portion as no one else can, and leaves but one regret on the minds of his hearers-that he is not ubiquitous-and spoils one for any other trumpet-playing.

The orchestra deserve especial mention for their delightful playing of the Pastoral Symphony, and for the general efficiency of their accompaniments. Mr. Edeson, as organist, and Mr. Loveday, the leader, have prominent claims on the well-deserved commendation. We are happy to congratulate the society on their successful opening concerts, and on their high state of efficiency and apparent prosperity.-Northern Whig.

RICHARD WAGNER.-The favour shown to this great musical prophet of young Germany is due specially, if not solely, to the Emperor, who has abolished self-government even at the opera, and entrusts that institution now to the direction of a state official. He is known to have received Herr Wagner more than once during that turbulent composer's recent visit to Paris; and one such reception would probably have been enough to give rise to an amusing rumour which attributes the production of Tännhauser at the French Opera to political motives, and to a wish on the part of Napoleon III. to conciliate the German republican party through a man who has very considerable influence over them. Herr Wagner is a writer as well as a composer, and most persons would prefer his poems and essays to his music. His melodies (when he condescends to introduce mere lyricism into his highly dramatic works) are by no means grateful to the ear, and his political principles are equally repugnant to the reason. of young Teutons, who long for a united Germany, not under a Prussian king but under a republican government, his democratic views are so palatable that they tolerate his music for the sake of his opinions. Thus Verdi, in Italy, is said to have owed a portion of his success to his well-known patriotism, but, above all, to the discovery that the letters composing his name were the initials of the great national cry, "Vittore Emmanuelle re d'Italia." The Parisians had an opportunity some months since of hearing a quantity of Herr Wagner's music, at a series of concerts given by that composer for their special benefit at the Théâtre Italien, when musicians and amateurs agreed in condemning it.

But to a certain class

EAST AND WEST INDIA DOCK COMPANY LITERARY InstituTION.—A concert was given by this institution on Wednesday evening, when the following vocalists assisted-Miss Eliza Hughes, Miss Walsh, Miss Jane Palmer, Mrs. H. Lee, Mr. George Tedder, and Mr. Leonard. The room

NEW AND CHEAP PARIS EDITION

OF

form. Mr. Gregson, the member of Parliament who is chairman of the Directors, opened the proceedings, and made several very sensible observations, which were listened to with marked attention. But the request of the hon. chairman that encores be not insisted on was not complied with strictly, Miss Eliza Hughes being compelled to repeat Bishop's Tell me my heart," and the Scotch song of "He is what they ca' a Bonnie Lad," and Mr. Levy the canzonet of Dinorah for cornet-a-pistons. The demand for repetition of "Largo al Factotum," by Mr. Leonards, was, however, successfully resisted, but not till Mr. Gregson had again addressed the audience in deprecation of the "encore system." The vocal class of the institution, which is under the direction of Mr. George Tedder, who, by-the-bye, sang Bishop's "Pilgrim of Love" with taste and expression, gave steadily and carefully the " Angelus," from Mr. Wallace's Maritana, and a part-song arranged by Mr. Macfarren, "Autumn's Golden Leaf." Miss Hughes and Mr. Leonard were very successful in their delivery of the well-known duet, "Mira di acerba la Grima" (Verdi), and in the "Suliote War Song" (Brinley Richards), the fine bass voice of the latter was heard to great advantage. Mr. Leonard also sang Wallace's "Bellringer," in place of Mr. Wallworth, who was unable to appear, and acquitted himself greatly to the satisfaction of his audience. Mr. J. G. Callcott accompanied the vocal music on the pianoforte. The room was full,

By W. VINCENT WALLACE.

"Twi

"Good News from Home," varied for piano, 3s. "Come where my Love lies Dreaming," for piano, 3s. "La Luvisella," favourite Neapolitan melody for piano, 3s. "The Shepherd's Roundelay," pastoral sketch, 4s. "The Volunteer Rifles' March," for piane, 3s. Beethoven's "Ruins of Athens," fantasia for piano, 4s. "Croyez Moi," romance for the piano, 2s. 6d. "Chorus of Dervishes," for piano, 3s. light," romance for the piano, 28. "Rondoletto Scherzo," for piano, 2s. "Il Sostenuto,' étude de salon, pour piano, 3s. "The Old Hundredth," transcribed, 4s. "Robin Adair," impromptu de concert, played by Miss A. Goddart, 48. "Home, sweet Home," 3s. Scotch, Irish and English, &c. Melodies for piano, each 2s. 6d. and 38.-Lists gratis, and postage free.

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PIANO MUSIC. By BRINLEY RICHARDS. Chime Again, beautiful Bells." solo, 2s. 6d.; duet, 3s."The Young Recruit," solo, 2s. 6d.; duet, 3s. ; as a March, 3s. "The Ploughboy," 3s. "Warblings at Eve," sola, 2s. 6d.; duet, 3s." Her bright smile haunts me still," 2s. 6d. "The Tear," by Kucken, 2s. 6d. "The Gipsey's life is a joyous life," 3s. "Why do Summer roses fade ?" 3s. "Annie o' the Banks o' Dee," 38. "The Bridge," (Miss M. Lindsay), 2s. 6d. "Fading away, 2s. 6d. Truth in Absence," 2s. 6d. The Cottage by the Sea," 2s. "Far on the deep blue Sea," (J. R. Thomas), 2s. 6d. March of the Men of Harlech," solo, 3s.; duet, 3s. The Dream of the Wanderer," (Romance), 2s. 6d. No. 6, New Burlington Street, and of all Music-sellers

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HE LONDON TONIC SOL-FA CHOIR will give their FIRST CONCERT at St. James's Hall, Piccadilly, on Tuesday, 27th November, 1860. Conductor, Mr. W. S. YOUNG. Admission Is. Reserved Seats, 2s. 6d. Sofa stalls, 5s. For further particulars, see small bills.

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