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attended by her maid, she meets on the road a very charming cavalier attended by his man. It is but natural that the gentleman should be polite to a young lady, and, of course, they end by falling in love with each other. Arrived at home, Madlle. Oabrielle finds her teirible aunt has gone out, and to frighten her admirer away, who persists in calling and renewing his addresses, she dresses a figure up to represent her aunt, and pretends she is asleep in her chair, so that each time the gentleman begins his declaration, she exclaims thus, " Ma lante dort." Thus debarred from finishing his speech, he reluctantly goes away, but bis servant has meanwhile found out the trick and tells his master, who returns to the house in a great rage. Ere this the aunt in proprid persond has returned, aud in reality fallen asleep in the very chair previously occupied by the lay figure. When the lover is told so now he, of course, still believes it a trick. The dreaded aunt is rudely awakened up, and a terrible scene ensues. The rage of the master turns against the servant, and perceiving him as he thinks peeping through a small aperture, he passes his sword through the partition, after the manner of Hamlet and Polonius, and Scapin is supposed to die; but it turns out to be only the doll, which the cunning valet had dressed up in his own clothes, fearing the rage of his master, whom he had led unwittingly into error. All ultimately ends happily, the surreptitious admirer proving to be the very man to whom the auut had destined her niece. Madlle. Ugalde plays the part of the young lady's maid, Marline; and Meillet that of Scapin, the servant Next week the first performance will take place at the Bouffes-Parisiens of the Carnival des Revues. Now that the gay season—the real season of Paris—is set in, all in the theatrical world is going on as actively as is the lyrical. The The'atre-Francais (and the Odeoo as well) has observed the laudable custom of celebrating the anniversary of the birth of MoliSre, which occurs on the 15th of January. This year it has beeu celebrated at the first theatre by a little d-propos in one act, and in verse, written by M. Henri Boemier. It serves less as an independent piece thau a* a prologue to the Malade Iniaqinaire.. TMhi<-h. iua<i giv+** ~-it.li the little intermides ,* these proved the most amusing part of the evening. Got, who is so excellent an actor, came outns a singer also ou this occasion; and in the scene of Polichinelie et des Archers, was especially good. The d-propos at the Odeou was written by a young beginner, M. Alexis Martin. The management of the Gymuase has just enga<jed M. Desrieux, a comedian from the Porte St. Martin. At the Vaudeville, M. Octave Feuillet has jost been reading to the artists a drama in five acts, entitled, Camilte. It is destined to succeed the PenUope Normande of M. A. Karr. Gil Verds announced his benefit at the Palais Royal ou Saturday last. At the Ambigu-Comique, Mad. E. St. Marc Rousseau is engaged; she is to fill a part in the Compere (Jiullery, written by M. Victor Lefaur.

An event of great interest, aud which is anxiously looked forward to, is to take place here on the 11th of March. The first festival of the Universal Philharmonic Society, under the direction of Monsieur Jullien, of Loudon, will be held in the Cirque de l'luiperatrice. Grand preparations are being made for this inaugurative festival; six hundred musicians are preparing themselves to do honour to the magic bdton that has directed lor so many years still larger numbers in the metropolis, where he has ever been so great and deserved a favourite. These concerts will now have for the Parisians all the charm of novelty, and cannot fail in proving successful.

Various concerts have been going on in Paris. J. Becker, ere giving the concert he intends to in the new salons of Erard, has been playing at a private soiree. He performed Paganini's variations on "Di tanti palpiti-' and a grand fantasia on the theme of " Nel cor piu. non mi sento," by the same author. He was encored in the Ronde des Latins of Bazzini. Mdlle. E. Desmaisons accompanied him on the piano.

M. Kimpel, the violonist, a pupil of Spohr, and virtuoso de ckamhre to the King of Hanover, has just come to Paris; he intends staying here some months, aud will play in public. Amongst other performers at concerts, who are rising, rapidly in the public favour, I must mention the daughter of Madame Cinti-Damoreau, Madame Marie Damoreau Wekerlin, who sang

last Saturday at a concert given by the Count de Morny with a sweetness and purity of intonation that delighted every one. Roger has returned to Paris; he has beeu to Dijon and Besancon. In the former town, the evening before the concert in which he was about to perform, while in a box at the theatre, witnessing a performance of The Huguenots, he was recognised by the spectators, and made the object of a regular ovation. Only by bowing from the front of the box could he allay this mark of tumultuous sympathy and admiration.

At the meeting of the Academie des Sciences on the 23rd of January, M. A. Cavaille-Coil, manufacturer of organs, read a memorial upon the "Determination of the dimensions of the pipes of organs with respect to their intonation." This important question, which has occupied a great number of learned men trom the time of Bernouilli to our days, has juxt been solved by that expert manufacturer, in an equally scientific and practical manner. The facility of calculation that this new theory effects, has enabled the author of it to put into the hands of his least experienced workmen, tables and rules, by rueaus of which they can, by a simple arithmetical operation, or only with the compass, decide immediately, with the greatest exactitude, the real length of the tubes, and also the position of the nodes of vibration (noeuds de vibration >, for the formation of new harmonical effects with which M. Cavaill6-Coll has enriched modem art.

The Cour de Paris was astonished, on Monday week last, by the petition of M. Sax, the instrument-maker, for a reversal of judgment. In consequence of the numerous law-suits which he has oeen obliged to institute against the many imitators of his instruments, he was obliged to declare himself insolvent. M. Sax, however, having assured his creditors of entire payment, and no opposition ensuing, the Court declared him reinstated (rehabiliti), and the previous decree dissolved.

Two very interesting autobiographies are soon to be published. The first, that of L. Spohr, will come out in three volumes, the publishers being G. H. Wigaud, at Gottingen. The Bocoud is -cmtt-T7f tiro betels!ateu wnor, TTno, whose death was lately announced.

At the Theatre of the San Carlos, at Naples, a new opera, by Petrella, entitled La Morosina, has been brought out, but without much success. And at Milan also a novelty, in the shape of an opera, in four acts, founded on Victor Hugo's drama of Marie Tudor, and written by a Russian named Kachperoff, has just been performed at the theatre of the Carcano.

I forgot to mention that Mr. Victor Maise, composer of the scores of Galathee, Noces de Jeanrutte and La Reine Topate, has been named director of the vocal music at the Grand-Opera, in place of Mr. Dietsch, who assumes the lead of the orchestra.

FOREIGN.

Pahis.—Whatever may be the result, let us state at once that the Musio of the Future has just made a great noise in the Present. No one knows what posterity has iu store for it, but one thing is certain, namely, that, in the year of grace 1860, on the 25th of January, at eight o'clock in the evening, the Musio of the Future excited, iu the good city ot Paris, which in the morning wus still most calm and slumbering in sweet artistic repose, one of those storms which arouse the most indifferent impassive men of quiet disposition, and send enthusiasts raving.

Those who did not see the Italian theatre on the evening in question have seen nothing. There is nothing I know of, except the. Tower of Babel, and the meetings of the National Convention, which can convey the faintest idea of the feverish agitation among the audience, even before the first note of the first piece, and we were only at the prelude.

Richard Wagner had not yet arrived. The outbursts of the musical '93 were to begin on his appearance in the house. The various parties were merely face to face, observing and counting each other. Every one of that crowd, Frenchmen and Germans, persons of healthy or diseased minds, classicists and romanticists, were preparing his arguments, and, while some were resolved to approve without listening, others bore in their countenances the signs of having passed a sentiment of condemnation before heard.

Let us leave on one side this exclusive crowd, for art requires to be discussed, and devote our attention to those who, frankly and loyally, had come with the purpose of listening to religiously and judging conscientiously a man, who, after all, is a profound musician, just as Victor Hugo is a great poet—duo regard being paid to the distance between them.

All (he artists of Paris were there. The ban and arriere-ban of comp Sits, virtuosos, and professors, were assembled without having been summoned. The Press was seen in its full numbers, as if for a rev w. The Academy was represented by Auber. Berlioz, in the front of tue boxes, had come to support by his presence his competitor fr m the other side the Rhine; that is fraternity, with a vengeance, or I ao not know what is. Celebrities of all sorts, elegant individuals by the side ol others more modestly clad, and, above all, a crowded general audience, proved to what a pitch curiosity had been excited by this first performance of the works of a symphonist, whom a certain portion—a very small one, it is true—of Germany presents to the world as the regenerator of music.

Good heavens! who would ever have suspected that, after Beethoven and Weber, music required to be regenerated!

* * •

Immediately he entered the house, this new Christopher Columbus was saluted with frantic acclamations. Was be thus received on the faith of treaties, or did his friends form what people have agreed on calling the turbulent minority? To render homage to truth, we must state that the roof appeared to fall in three times with the applause.

It was now that the orchestra, conducted by Ricliard Wagner in person, began the overture of tho Paisseau Fantdme (The Flying Dutchman). The effect of this first specimen was next to nothing. It was a protestation against the preliminary applause, a protestation justified, by tho way, by the deafening disorder of the composition.

At the silence maintained by the audience, I heard a young German, close to me, exclaim, "It is just like your artists! If I were Richard Wagner, I would turn them all out!" (sic.)

I thought he was labouring under hydrophobia, and recollected with horror, that I was not armed.

The piece which followed was the famous march from Tannhiiuser, very popular in Germany. In this instance, a flash of melody and very distinct rhythmical sentiment reconciled tho real publio with the composer, and unanimous acclamations saluted the brilliant peroration of the march. But is this really me Musiu ot *uo i . l-x,. . ...i, part, I distinguished in this piece all the signs of our poor music of the present day, and I was delighted to welcome in it the modest qualities of a little composer culled Meyerbeer. Bravo, M» Wagner! If that is your Music of the Future, I am perfectly willing to skip with you over two or three centuries, and I embrace the cause of progress. If, on the contrary, however, your music resembles the overture of the Vaisseau Fantdme, the introduction of Tristan et Isolde, and your Sainte Oraal—Oh! in that case, I leave you, and, going backwards, ask our grandfathers Mozart and Haydn, for a liitle of their learned, goodnatured simplicity and unostentatious science. With them, at least, one breathes, understands, is interested, and sings.

With you, on the contrary, when you take this pretended road of the future, we are lost in fog, and can scarcely follow you. The guiding thread of the Ariadne, called melody, escapes from your grasp; the harmonic meanderings surround you so thickly and so closely, that we lose sight of you, and, in fact, not only of you, but of your idea, your subject, and your orchestra as well. Stop, I entreat you, M. Wagner! You are a man of great talent, but you are opening a dangerous road, on which many foolish young persons may perish, and on which artists will be destroyed, sooner or later—if the publio does not set things to rights.

The public is the great master of us all—from the little up to the great. It is the puolic which decreed that Raphael was a great painter; Moliere, a great thinker; Shakspere, a great poet; and Kossini, a great musician. 1 am now speaking of the universal public; not of the public of a village, stdl less of a coterie, which sees aud judges in a certain manner, because it lives in a certain country, turns round a certain centre, and drinks a certain driuk. I am speaking of that cosmopolitan public, which takes its seat at every table, and chinks glasses with every nationality. That public, thank heaven! does justice on errors, and always brings back art, within a given time, to its true limits. That public, M. Wagner, may, porhaps sanction your Tannhiiuser march and overture, but I trust, also, that it will lop off your method of musical metaphysics. Let foggy philosophy reign at the University of Heidelberg, but allow us to retain our own music, in which the heart jpeaks, the soul dictates, and the mind merely translates, like a slave, without thinking, and, above all, without quibbling.

• * •

It was under the immediate influence of these impressions that,

after alternately rising and falling—a perfect Bourse in a state of

delirium—the whole audience rushed, like one man, between the two parts of the concert, into the saloon.

Here events assumed really colossal proportions. The emeute was at its height; I thought a provisional government was about to be named It was a scene of tumult and confusion without parallel. "Ah!" exclaimed a fanatic, "it is Meyerbeer sublimated!"—" Excuse me," replied a Girondist, " it is Weber travestied !"—" It is the sonorous heavens!"—" Rather too sonorous !" cried a hundred others.— "It is the musical carnival!"—" It is the neplus ultra of instrumentation !"—It is chaos!"

All this time groups were formed and dissolved with feverish agitation. The Gluckists and Piccinists must have shuddered in their graves on seeing their great-great-granlchildren follow in their own impassioned steps. Really, I did not think the artists of Paris could be so greatly moved! Holy music! thou art not dead, then, and thy empire is a very real one, since thou cannot revolutionise us thus.

• * •

M. Wagner seems to be ambitious of the title of the 8onorons Prophet. He attains, in this respect, effects truly grandiose, bat somewhat too persistent, which does not prevent him, occasionally, from making an undue use of the first string and exceedingly acute notes. At certain moments, his music is acid, and affects tbe nerves. For him, the orchestra is a mere plaything; he handles it with all the authority of science and experience, with great fire, and above all, with the fanaticism of an apostle. He very rarely discovers, however, any novelties of sound. Meyerbeer and Berlioz are the seekers in this department, and succeed much more frequently iu astonishing the ear. A peculiarity, also, that fatigues the audience in the works of M. Wagner is an immoderate use of the chromatic and of ascending modulations; there is an almost continual want of tonality; nearly complete absence of melody. When the latter appears, M. Wagner repels it, as though it wire something contemptible, and the bearer who fancied he was about to breathe, has merely just caught a glimpse of the oasis, to set out again more panting than ever, and, incessantly tossed about by a host of symphonio formulas which never end.

We must, however, say, and insist upon the fact, that M. Wagner is a great musician, only his tendencies are deplorable. Fifty years' . ...» „a ;„ fi,;* Whifw. ftnH mn«ir wpn'^ 1u> dead, for melody would

be killed, and melody is the soul of music.

To fulfil our duty to M. Ricliard Wagner, we must state that, independently of the march and overture of Tannhiiuser, the piece of the nuptials of Loltengrin produced a great impression. Here again there was a little chorus partaking more of the Past than of the Future, and which I consider more French than German—if you doubt me, ask M. Auber. It is inclosed in a phrase of the violoncellos, taken up by the brass instruments, and intended to describe the unbounded delights of a grand festival.

It was after this last success that the public left the Salle Yen tadour. But all was not over, and the scene of tho saloon was repeated in the Passage Choiseul. The tradesmen of that peaceful locality were on t he point of closing their shops. For half-an-hour, the same artistic and turbulent crowd affrighted, with its discussion, tho echoes of that bazaar of industry. The consequence is that, for M. Wagner's next concert, there is some talk of doubling the guard, and stationing a swarm of Sergents de Ville around the Thtatre-Italien.—(Minestrel.)

Amiens.—23rd January.—Le Prophete has, at length, just been given with really extraordinary magnificeuce. The book and score produced a deep and general impression. The principal parts, j udiciously distributed, were played and sung with great talent by M. Duprat, first tenor of the Marseilles and Lyons theatres; Mudame Ismuel, as Bertha; and Mdlle. Erambert, as Fides. MM. Castelmary, Rondeau, and Lebreton, rendered very satisfactorily the parts of the three Anabaptists. The orouestra and cnoruscs, conducted by M. Seiueladis, were also deserving of praise. The beauty of the dresses and scenery excited unanimous marks of approbation.

Metz.Le Pardon de Ploermel pursues its triumphal march, and the beauties it contains excite the enthusiasm of the public every evening.

Brussels.—Last Thursday, Le Pardon de Ploermel was given for the tweifth time. It continues to draw splend id houses. An accident, fortunately not of a grave character, was nearly interrupting the run of this new masterpieoe of Meyerbeer. Mdlle. Boulach was injured on falling from the bridge, at the conclusion of the second act, and l'eurs were entertained, for a moment, that she would not be able to Uuish the piece. After a uotificatiou from the stage-manager, Mdlle. Boulach, however, sang her part to the end. The new ballet,Le Mijou du Hoi, by M. Henri Desplaces, has been successful.

Gesita.—The first representation of Le Pardon de Ploermel has just been given to a densely crowded house. The Genevese public warmly applauded the new opera, which has achieved a most brilliant success. The various artists acquitted themselves admirably, especially Mdlle. Emon, in the part of Oinorah.

Berlin.—Mdlle. Artot and M. Carrion have sung at the concert before the Court, when Meyerbeer's Schiller March was performed. This magnificent composition excited the greatest cnthusiaam. At the Roval Opera house a three-act opera, Christine de Suede, music by M. de Beder (the King's intendant), and ballet by M. Taglioni, has just been represented for the first time. A brilliant audience was assembled, and the work met with honourable success. At the end of the first act. Mad. Wagner (Christine) was honoured with a call.

Bostock (Mecklenburg).—The Pardon de Ploermel has just been produced with brilliant success. The execution was irreproachable, and the crowded audiences at the performances of this master-piece testified by applause and recalls, their satisfaction to the artists.

VlEKTiA.—The first Philharmonic Concert, under the direction of Herr Eckert, took place in the Imperial Opera House. Among the pieces played were Cherubini's overture to Anacreon, Beethoven's Seventh Symphony, and Berlioz's Fee Mab, scherzo from the symphony of Romeo et Juliette, This last piece was executed with a rare degree of perfection, and received with enthusiasm. The revival of Glnck's Iphigenia in Taurix attracted a largo audience, and proved a complete success. Madame Dustmann rendered the principal part with immense talent. At the same theatre, Lortzing's opera, Der Wilddiel lias been favourably received.

Fraskjort.Le Pardon de Ploermel will be brought out very shortly. The rehearsals are terminated, and the management are only waiting for the completion of the scenery. Herr A. Drcyschock, the pianist, gave, on the 23rd January, a concert, attended by a numerous

Pitebsbuboh.—It is now certain that Le Pardon de Ploermel will not be produced before the 23rd January (4th February). It is the non-completion of the scenery, which is confidently asserted to be admirable, that has caused the delay. Mad. Charton, Calzolari, and Debassini, will support the principal parts excellently. The work will be given for the benefit of Mad. Charton, and the whole house is already 1st j it is impossible to obtain a place. Meanwhile, La Traviala, with Mdile. Balfe as the heroine, is to be given for the benefit of Calzolari «d Prophete for that of Tambcrlik.—The day before yesterday Per PreUchiilz, with new COstUIUUrt, sceueij, ami *mpf*rtm*mmHi Ww perforated for the benefit of Mongini. The house was full, and the success achieved by Mdlle. Lagrua very brilliant.—The same evening, at the French theatre, an extraordinary performance afforded the public an opportunity of hearing Tamberlik sing a French romance and a Haitian one, and Mad. Nantier-Didiee some Neapolitan Bongs. The two eminent artists were compelled to repeat their respective pieces, amidst the acclamations of the whole house, but it seemed aB if the boilding itself would fall from the applause, when Tamberlik sang and repeated the famous romance of the Princess Kotschouhey Skzjzte, with an expression and style peculiar to himself. At midnight, the per' fonnancea concluded by the appearance of all the French artists admirably grouped by Zichy, the celebrated painter, in an immense tableau vivant, occupying the whole stage, and most picturesque in its effect. The Emperor and Empress, as well as several members of the Imperial family, a crowd of high dignitaries, and the greater part of the aristocracy, witnessed this brilliant entertainment, got up for tho benefit of one of the artists by his comrades.

Lasd At Oxford.—The Conservative Land Society "has just acquired its fortieth estate and made its first purchase in Oxfordshire. The property is called Fair Acres, and forms the south east point of the New Cowley district, which it is proposed to bring within the jurisdiction of the Commissioners under the Oxford Improvement Act. The land has a frontage on the Henley or London road, and the views from all sides are very picturesque, rendering the estate admirably adapted for building purposes. It is just under a mile from the city, and close to the suburb of St. Clements. It is the highest land in the whole district, rising from the valley of the Thames.

Shrewsbury.—Mr. Walter Hay has had a purse of a hundred sovereigns presented to him by the patrons of music in Shropshire, as a recognition of professional services, &c., and in consideration of severe losses thereby incurred, in various spirited undertakings for the public

THE ANGLO-FRENCH ALLIANCE.
How many centuries have passed away,
Since God, in nature, working for man's good,
Bent cliff from cliff asunder, and decreed
That this should part of territory vast
Bemain: but that disjointed piece of earth,
An island, self-contained, should ever stand,
Alone, for freedom's sake, inviolate!

How many a generation on those rocks
Have looked o'er sea and sky, and only seen
The other opposite: and deemed it fit
For foe, for rival, for aught else but friend!
The world was weary, weeping for their woes,
Their cries of pain and death in many a strife;
But now, in later years, a brighter light
Is shed upon the scene, and each can see
The folly of thoir oourses, and the crime.
Long may the union of the races be
Beciprocal and firm ,- and enemies
May be by joint endeavours kept afar
From France and England: so may we
In the industrial arts of peace aspirers be
Which shall do most for human progress' sake.
In deeds no less than words we celebrate
The Anglo-Frenoh alliance: we give away
Onr noblest daughter—she whose talents rare
Have charmed all her hearers: not less great
(Though far less widely known) her charity
To all who need her succour. She can raise
The heart bowed down with sorrow; she can feel
For grief and pain angelic pity soft,
And pour into the wound the oil and wine
Of kindness* gentle words—best remedy.

Let all Old England's children join in praise
Of her they know so well; they hear her oft,
In Handel's mighty strains, reminding them
Of Him who died "despised and rejected:"
Imploring them to come to Him for help,
Who, " like a lowly shepherd feeds His flock,"
And "gently leads the ewes that are with young."
Not less tho woes of mortal Samson: she
Can draw the tear of pity for his grief;
He, strongest man on earth in blindness dark;
And she, like Israel's prophet in old time,
Implores his Grod to look upon his state,
And see "His servant weeping in distress."

If the great story of deliverance,
Which once in Egypt wrought, delight thee more,
Go hear the recitation of that plague
(The foulest of them all), when frogs appeared
In royal palaces j and wicked men
To blains and blotches sore were given over:
And learn from that, ye tyrants of the earth,
That there is One who judges all your ways,
And will avenge the wrongs of His poor folk,
And hold ye up, a warning to your race.

Let every one who has a heart to feel
Admire the tender pathos of her tones,
So gentle and so kind, that all who hear
Do reverence to her worth, and blessings pray
On her whose soul, reflected in her voice,
Proclaims her best and brightest of her kind.

And France must yield a son; and noue so well
May join our daughter as the one who long
Has lived amongst us, and has borne his part
With manliness and truth for many years,
As English citizen. Long may he live
To show how well he values her we give
Into his keeping; and the great reward
Of her life's long devotion shall be his.
May many artists from this union spring,
The future generations to delight;
And may our sons and daughters reverence
Virtue and worth, as well as we do now.
They may their praises ling in smoother verse
Than we can; but they never will exceed
Our warm congratulations to the pair,
The Anglo-Dolby-Sainton-French alliance! J. T.

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THE MUSICAL WORLD.

LONDON, SATURDAY, February 4th, 1860.

The Society for the Encouragement of the Fine Arts, whose agreeable conversaziones and soirees we have from time to time recorded in our columns, is beginning to realise the important and useful position to which it aspired at the outset of its career, as a guardian of the interests, and promoter of the progress, of Art. The distinguishing feature in the scheme of this Society is its comprehensive character, and the largeness of its views. Disdaining to confine its mission to any particular art or craft; looking to the common source of all Arts—the principles of the beautiful, which should rule in all, whatever their form of development—the originators of this Society have determined to unite the whole Art-family under a common roof, and with a common stock, and a purpose of mutual advantage before them. The idea is a good one, and has been carried out hitherto with an amount of success which is a guarantee of the ultimate result. Art-institutions have lent their rooms for the soirees of the Society, professional musicians have tendered their gratuitous services; and the consequeiif B of this combined-operation has been a series of entertainments which, for novelty and interest, have rarely been surpassed. Last week we recorded the proceedings at the Suffolk-street Gallery on Thursday the 26th January, when the Vocal Association, under the conduct of Mr. Benedict and Dr. Pech, sang English madrigals and part-songs in the presence of a noble collection of English pictures; and this, we believe, is but the prelude to a series of six similar entertainments which are to gladden the coming season.

But it is not only as a pastime that the Society "encourages" the Arts. The interests of Art as a profession are the objects of its solicitude; and regular meetings are to be held at the Society's rooms, 9. Conduit-street, for reading papers, and discussing questions affecting the Arts—for the distribution of prizes of honour in Painting, Sculpture, Architecture, Music, Poetry, and Engraving, &c. The copyright question in works of Art comes on for special discussion at an adjourned meeting appointed for the purpose on Thursday next: and to show that the Art to which this journul is more particularly devoted is not overlooked, we may mention that the third Thursdays in every month are to be set apart for the trial of new music, of all classes, not hitherto performed, and that a committee has been appointed, consisting of composers and professors of eminence, to make arrangements for the purpose.

With such labours before it, and already so zealously commenced, this Society is entitled to the consideration of all artists and lovers of Art, and, we doubt not, will receive a full measure of their support.

Thanks to the exertions of M. Listener, we find ourselves in possession of a treasure, which, a fortnight since, was supposed to be beyond the reach of human industry—a biography of M. Grassot.

This celebrated comedian, whose baptismal names were Jacques Antoine Louis—not Auguste—was born at Paris in the month of January, 1800. After dabbling a little in. commerce and paddling a little in private theatricals, he became member of a provincial company that played at Rheims and in the adjoining district, his department being that of second low comedian (second comique) with an occasional elevation into the business of Vernet and Legrand.

It is not till the year 1833, that we can with certainty look for him at a Parisian theatre. In that year we find him playing very small parts, with still smaller success, at the Gymnase, while his wife, who calls herself Mad. Auguste, and came with him from Rheims, is making a very creditable figure at the same house, in parts previously assigned to Mad. Volnys. In 1834, the fame of the lady, not of the gentleman, has reached Rouen, and thither she goes, engaged as "jeune premiere," followed by her husband, who is without any engagement whatever. Nevertheless his light shines, under a bushel though it be, and in 1836 he is a leading comedian at the Rouen Theatre, blessed with principal parts.

Some two years elapse before the provincial mythus of Grassot comes to an end, and he stands before the world as a Parisian fact. In July, 1838, he makes his debut at the Palais-Royal, and is welcomed with critiques written for the express purpose of showing how much he is inferior to Odry. However, people gradually become accustomed to the peculiarity of his humour, and if anyone wants to know his whereabouts during the twenty years following his dibvi, .th.e play-books of the pieces, produced at the Palais-Royal will give the amplest information.

In 1858, he sets off for the South, hoping to recruit his health, and strengthen his voice, which is becoming weak, and after a few month's absence, he returns, not with a new voice, but with the recipe for a new punch, since celebrated as the " Punch Grassot." In July, 1858, he re-appears, and creates funny parts, but they draw tears from the spectators, who perceive that his recovery is impossible. In June, 1859, he retires, with a pension from the theatre, which he ekes out by authorising the sale of his punch. On the 18th ult he dies, and a few days afterwards he is buried in the church of St. Roch, the funeral oration being spoken by M. Dormeuil pere.

[If any malicious person wishes to diminish the value of our information, by telling us that a life of Grassot by M. Mirecourt was published some years since, we beg to inform him that he may spare his pains, as we know that fact already.]

Last week, in speaking of various comedy subjects which contempory French dramatists have turned to good, bad, and indifferent account, we omitted to mention the Parisian fathers, whose misdoings have suggested to M. Alexandre Dumas jils, Le Pere Prodigue, and to two other writers a work of a similar nature—exposing, that is to say, the prodigality of governors—entitled M. Jules. It appears from the two productions, which were given almost simultaneously, that the young men of Paris are a good deal bored by their fathers, and in a very original manner. In the comedies of Plautus and of Moliere—not to mention a few others—we find a number of respectable old men worried by their sons, ■who get into debt, run away with pretty but portionless girls, and behave generally with the absurdity befitting their age. The modern dramatists of France have changed all this. The son, it appears, is now a sober, sedate personage, while wildness and recklessness are the attributes of the father. The Plre Prodigue wastes his substance, and if. Jules would often have had to feed upon husks but for the timely aid of his son, who relieves him from time to time with five-franc pieces. We speak of M. Jules and Le Pire Prodigue as works identical in purpose, and they, in fact, bore the same suggestive titles until the authors of the former altered the name of their piece out of deference to M. Dumas fit*. At present the only important difference between the two is found in the treatment. M. Dumas fils seems to have gone to work with a serious intention, as if believing in the prodigal father as a type; while the authors of M. Jules have apparently only thought of the ludicrous effects that might be produced by contrasting a boyish, pleasure-seeking father, with a serious, venerable son. There is something disgusting in both these comedies, but the least offensive of the two is, to us, that in which the writers make no pretence of working out their subject philosophically. A burlesque in which men play the part of women is bad enough, but it is, at all events, better than a serious piece in which an attempt should be made to show that in actual life men do behave like women, and women like men.

As we never studied the fathers very much—having, to tell the truth, principally con6ned our attention to the daughters—we cannot say positively that the Parisians are ■wrong in viewing their progenitors with a mistrustful eye. But it appears to us that the relations between father and ■on are, somehow or other, out of joint in Paris. We were

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it happens that, in the opinion of these popular dramatists, the fathers have at present the vices of youth, and the sons the prudence (which in excess is also a vice) of old age. Is it that the sons have degenerated, and are now utterly feeble, or are the fathers alone bad, and are the young men of the present day really so virtuous that they have cause to be ashamed of them ]

Crosbt Hall.—On Monday evening a juvenile pianist Master George Fox, gave his second annual concert, with great success, judging from the large audience who attended, and the enthusiastic applause bestowed upon all the artists. The programme consisted of a string of ballads, cavatinas, pianoforte solos, songs, duets, &c., in the usual "benefit concert" form. Several songs, however, were well sung; amoug them we may single out Mr. Frank Mori's " Who sliall be fairest," given ■with spirit by Mr. Fabian, who possesses a nice tenor voice, though of limited compass, and Rossini's "Largo al factotum," sung capitally by Mr. Leonard, and vociferously encored. Mr. Leonard possesses a fine bass voice, of great power and extensive compass. He made his first appearance in public on the present occasion, and his success was decided. He will become, no doubt, a great acquisition to our concert rooms. Mr. Leonard, besides joining Miss "Vincent and Mr. Fabian in a trio by John Barnett, and Miss Louisa Van Koorden, in a duet by Verdi, sang Brinley Richards' "Suliote War Song" with immense spirit, and produced a commensurate effect in it. Master Fox, who Las considerably improved since he was last heard in public, played a fantasia by M. Leybach, Weber's "Invitation pour la Valse," and a notturno by Doehler, showing in all of them careful training. With judicious instruction and perseverance, Master Fox will no doubt attain considerable efficiency as a pianist. Mr. Frank Mori accompanied.

LETTERS TO THE EDITOR.

MISS CATHERINE GERARD.

Sin,—My attention has been drawn to your notice of Mr. George Forbes' concert at the Eyre Arms' Concert Room, on Monday the 23rd instant, in which } our correspondent says: "Miss Gerard attempted in vain Pacini's ' II soave e bel contento.'"

The only construction which this sentence can bear is this,—that I failed to complete the performance of the carat ins, a construction which involves a dirt ct untruth. I beg to inform you that I executed the cavatina completely, and, had necessity for it existed, could hava repeated it still more elaborately.

Further, I beg to inform you, that I subsequently sang "Tell, me my heart," which your correspondent docs not mention, and which, I am told, obtained more applause than any other solo sung during the evening.

In justice to myself, I must in conclusion request that you will give me the insertion of this in your next impression, in coutradiction to the misleading and ungenerous critique of your correspondent. I am, sir, yours truly,

January 31s/, 1860. Catherine Gebakb.

Sib,—I inclose you a paragraph from this month's Musical Timet, commenting upon my performance of "II soave e bel contento," at the St. John's Wood Assembly Rooms, on the 23rd ultimo. Do me the favour to compare it with your critique. I am, air, yours truly,

February 2nd, 1860. Cathbbinb Gebabd.

Sib,—Accidentally catching sight of the Musical World of last Saturday at a professional friend's here last evening, I was struck with the unfriendly tone adopted by your reporter towards "a struggle for future fame" at a concert at St. John's Wood on Monday the 23rd instent, where I happened, with n professional friend, to be present. I allude to a lady debutante of last season,—I believe a pupil of Signor Garcia's (but of this I am not quite certain). Your critic writes: "Miss Gerard in vain attempted Pacini's "II soave e bel contento;" this must be a mistake, and decidedly not a kind one. I was about the Centre of the roqm, and should say (and my ear is not an unpractised one) that cavatina was executed with considerable ability, and the difficulties compassed with an ease unusual in a lady so young in the profession. She afterwards sang Bishop's "Tell me, my heart." in an equally creditable style, which was nearly redemanded, and contributed her fair quota to the success of the concluding trio, '* Voga, voga," in which Miss Lascelles and Signor Beletti sang with their accustomed excellence. Of these two performances your reporter fails to speak! which appears to me not dealing over kindly with that lady. Youra faithfully, Veritas.

Liverpool, February 1st, 1860.

THE CRITIQUE.

"Miss Gerard ssng the cavatina, 'II soave e bel contento,' most brilliantly. The melody was ornamented by a variety of cadenzas, which were neatly executed. The music was altogether pleasing and well performed."

[We have much pleasure in laying Miss Gerard's communications before our readers; but the confidence we are accustomed to entertain in the impartiality and capability of our suburban reporters—one and all—rests unshaken.— Ed. M. W.]

The London Glee And Madriga L Union, tic., have attracted highly fashionable audiences during the week. They have announced for next week (their last), a selection every evening from the compositions of Sir Henry Bishop, and, for their morning performance, a miscellaneous programme made up from the most admired pieces given at former concerts will be sung. Mr. Edward Land will, as'usual, have the direction of the performances.

Mr. And Mrs. Howard Paul aro filling the St. James's Hall with fashionable audiences. Their entertainment is now one of the most attractive in the metropolis.

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