present. Mr. Lawler sang "Why do the nations," and "Rolling in On the NEW PIANO MUSIC, PUBLISHED BY ASHDOWN & PARRY, 18 HANOVER SQUARE. BRISSAC, JULES FIELD, JOHN MAUSS, THEODOR MOZART, W. A. RUBINSTEIN, A. SELLE, W. C. CORK.-At the farewell performance of Mad. Rudersdorff's Opera Company, the selection consisted of the last act of Sonnambula, the fourth act of Trovatore, and the Singing Lesson in the Daughter of the Regiment, concluding with a farce. The portion of Trovatore which was performed presented a feature which was looked for with much interest, as it had been generally rumoured that our talented fellow-citizen Mr. Topham was to sing behind the scenes in the celebrated Miserere scene. Nothing could exceed SCHUBERT, F. the rapturous applause with which both Mad. Rudersdorff and Mr. Topham were received, both being called before the curtain, when they were greeted with loud plaudits from boxes, pit, and gallery-all of which were densely crowded. The singing of Mad. Rudersdorff, especially in the scene from the Daughter of the Regiment, was such as to create rather imperative demands for an encore, with which she obligingly complied by singing three songs additional to those in the opera. At the conclusion of the performance she was called before the curtain, when she came forward to the front of the stage, and warmly thanking the public of Cork for their kind reception of her, stated that the Company intended again visiting the city on the approach of Christmas, when she hoped she would receive a Cead Mille Failthe. The announcement was received with loud and continued cheering.-Cork Advertiser. BRISSAC, JULES ... SCHLOESSER, A. militaire "Le retour de l'armée." Marche triomphale "Don Juan." Grand Duo sur l'opéra de Mozart... March from Tannhäuser, arranged by T. Mauss ... ... 6 0 60 60 50 AN ENGLISH COMPOSER ON THE CONTINENT.-Mr. Ferdinand Quentin Duliken (son of the late Mad. Duliken), at present residing in Warsaw, is writing two operas which he intends bringing Including many Works out of Print and the Plates of which have been out upon the London stage. They will be entitled Waverley and A Game of Chess; the latter being a comic opera in one act.-Communicated. NO AMATEUR VOCALISTS.-Wanted some FIRST forming. Perfect sight-reading not so much an object as the possession of a good voice. No fee or subscription required, but each applicant will have to undergo a vocal examination. The Rehearsals of the Choir will take place on Monday Evenings from 8 to 10, in the vicinity of Regent Street. Ladies and gentlemen unconnected with any similar societies will have the preference. Apply by letter, addressed to O. O., Addison, Hollier & Lucas, 210 Regent Street, W.. destroyed, TO BE SOLD AT ONE FOURTH OF THE MARKED PRICES AFFIXED, BY MESSRS. BOOSEY & SONS, 28 HOLLES STREET, OXFord street, In consequence of their discontinuing the Sale of Miscellaneous Foreign Printed ORCHESTRE SYMPHONIES, OVERTURES, MILITARY and BRASS BAND MUSIC. VIOLIN CONCERTOS-Septuors, Quintetts, Quartetts, Trios, Duets, and Solos. VIOLONCELLO and TENOR MUSIC for ditto, ditto. FLUTE MUSIC-Concertos, Septuors, Quintetts, Quartetts, &c., &c. CLARIONET, HAUTBOY, HORN, and BASSOON MUSIC, from Concertos to Solos. HARP and GUITAR MUSIC, of all kinds. PIANOFORTE MUSIC, from Concertos to Solos, including an extensive assortment of Music for Four Hands. VOCAL MUSIC in Score, Oratorios, Operas, &c., &c. Early applications are recommended as of many of the Works only one or two Copies are left, and the whole Collection must be cleared off in the course of a short time. Hours of Sale from 10 to 4. EVANS'S ENGLISH HARMONIUMS The Cottage Harmonium, at Six Guineas Has the full compass, Five Octaves, and a soft agreeable quality of tone, suitable for a cottage or a small sitting-room. The Ten-Guinea Harmonium In a handsome Oak Case, possesses that rich organ-like quality of tone which characterises all EVANS'S Instruments. The Nineteen-Guinea, or Three-Stop Harmonium With Unison Trebles, and Bourdon in the Bass, is a powerful instrument, and designed expressly for leading Public Worship. The Twelve-Stop Harmonium, price 36 Guineas Is a brilliant and powerful instrument, suitable either for a church or drawing-room. The New Patent English Model Harmonium, at 68 Guineas Is in a very handsome Rosewood Case, has two rows of keys, and five and a half octaves of vibrators. This is acknowledged by the profession and press to be the most perfect Harmonium, without pedals, that has yet been produced. The Organist's or Pedal Harmonium, at FortySeven Guineas Is in an American walnut case, has Ten Stops and Two Octaves, and a Third of Pedals, with independent reeds. The New Patent English Model Harmonium, WITH TWO ROWS OF KEYS AND PEDALS, In Oak Case, and Eighteen Stops, price 130 Guineas, possesses the attributes of an Organ, and is the most complete Harmonium that has yet been constructed. An Illustrated Catalogue of EVANS' English Harmoniums, with One and Two Rows of Keys, with or without the Percussion Action, and with Pedals, at prices ranging from 6 to 140 Guineas, is now ready, and may be had upon application to the Manufacturers, BOOSEY AND SONS, HOLLES STREET, LONDON. Printed by GEORGE ANDREW SPOTTISWOODE, of No. 10 Little New Street, in the Parish of St. Bride, in the City of London, at No. 5 New-street Square, in the said Parish. Published by JoHN BOOSEY, at the Office of BoosEY & SONS, 28 Holles Street.-Saturday, November 17, 1860. "THE WORTH OF ART APPEARS MOST EMINENT IN MUSIC, SINCE IT REQUIRES NO MATERIAL, NO SUBJECT-MATTER, WHOSE EFFECT SUBSCRIPTION-Stamped for Postage-20s. PER ANNUM Payable in advance by Cash or Post-Office Order to BOOSEY & SONS, 28 Holles Street, Cavendish Square, London, W. Librarian Mons. VIEUXTEMPS. Mr. DONOVAN. 5 July 3 ... ... Mr. DowLING. November 6 ... ... Fellows' Meeting for Discussion, &c. Choral Practice. December 3, 10, 17 Choral Practice. Mr. T. DONOVAN. Mr. SQUIRE. Dr. MARK is open to Engagements either for THE FIRST ORCHESTRA, Consisting of 30, 40, or 50 Performers, is conducted by Dr. Mark, and composed of the Advanced Pupils of the Royal College of Music, and some of the "Little Men," who perform Sacred, Classical, Operatic, and Popular Music. Also a Vocalist, Solo Harpist, Solo Pianist, and Organist-or THE SECOND ORCHESTRA, Conducted by Mr. Wrigley, which consists of 30 Performers, and is composed of the "Little Men," who play Operatic and Popular Music, and sing favourite Airs and Choruses. Also a Vocalist, and Solo Instrumentalists. Dr. MARK begs to inform young ladies and gentlemen who are preparing for the profession that he affords opportunities of introducing them to the public by performing at his concerts. Orphans of the musical profession, and poor children possessing musical talent, are admitted free, and receive a general and musical education, together with board, lodging, and clothing, until the age of fourteen years, when they are either apprenticed to a trade or trained for the profession. Little Boys, from five to nine years of age, apprenticed for three, five, or seven years by paying a moderate entrance fee to cover the expenses of instrument and books. For Prospectuses, apply direct to the Royal College of Music, Manchester. Visitors are admitted from Nine to Eleven, a.m., and Two to Four, p.m. every day, Saturdays and Sundays excepted. 47 The Concerts and Conversazioni on Wednesdays, at half-past 8 o'clock, at St. James's Hall. Choral Practices on Tuesdays, at 8 o'clock, at Marylebone Institution. ., 201 Regent N.B.-On and after the 1st December, 1860, Messrs. Cramer and Street, will be prepared to receive the subscriptions of £1 1s., for th ar 1861, from Fellows, Associates, Lady Associates, and Nominated Annual Subscri s, and on and after the 1st January, 1861, from subscribers to the Series of Conc.; and at the same time such persons will be entitled to select a Reserved Numbe Seat for the Series of Concerts; and will be furnished with a voucher for the same on payment of an extra sum of 10s. 6d. so near and yet so far." Reichardt's popular song transcribed for the Harp by C. Oberthür, is just published, price 3s., by Duncan Davison & Co., 244 Regent Street, W. E'S NEWEST and most POPULAR SONGS. BALFE'S ... "If I could change as others change" (Sung by Laura Baxter) "I'm not in love, remember" (Sung by Miss Parepa) s. d. 3 0 3 0 ... 26 2 6 20 "Oh! take me to thy heart again" (Sung by Miss Poole) Published by Duncan Davison & Co., 244 Regent Street, W.; where "I love you" may be obtained, transcribed for the Pianofore by Emile Berger, price 38. 66 AULD LANG SYNE," varied for the Pianoforte by gent Street, W. ALBERT DAWES, price 5s., is published by Duncan Davison & Co., 244 Re"This is a series of nine variations on the above popular air, and possesses a beauty seldom found in this class of music, namely, that the air is heard in all the variations, It is a good piece for practice, and not too difficult for the generality of players. We heartily recommend it to our musical friends, to many of whom Mr. Dawes is already favourably known as a composer.”—Hastings and St. Leonard's News. ALBERT POSITIONS. "Auld Lang Syne" (with variations) "Hastings Waltz-s" "Anacreontic Quadrille" (on popular Glees) Hastings Polka ". "Southdown Polka" "I slept, and oh! how sweet the dream" "Good bye, my love, good bye" ... London: Duncan Davison & Co., 244 Regent Street, W. s. d. 5 0 GOOD posed by ALEXANDER REICHARDT, price 2s. 6d. Duncan Davison & Co., 244 Regent Street, W. London: published by The day, pretty darling, draws.near to its close, Who guard them while sleeping, my darling, good night. "Few songs of modern days have achieved a more decided or better merited success than Herr Reichardt's charming lied, "Thou art so near and yet so far," which has for the last two years been the delight of all concert-goers and drawing-room vocalists of more than ordinary pretensions. Messrs. Duncan Davison and Co. have just published a new composition, from the same original and elegant pen, entitled “Good Night" (a cradle song). The words are exquisitely simple and unaffected, being the address of a mother to her sleeping babe; and it is but justice to Herr Reichardt to say that be has wedded an exquisite domestic poem to a most graceful, unaffected melody, which breathes the very spirit of maternal tenderness. The song, which is written for a tenor voice-the composer being, as our readers know, one of the first of living German vocalists-is in the key of F major; aud to amateurs of taste we can cordially recom mend "The Cradle Song" as a composition worthy of their attention."-Leer pool Mail. NE [EW WALTZ, "The Woman in White," Valse mystérieuse, by Charles Marriott, dedicated to Wilkie Collins, Esq., is just published price 3s., by Duncan Davison & Co., 244, Regent Street, W. MUSIC AND THEATRES IN PARIS. (From our own Correspondent.) November 10. THE month of November is not propitious to the operatic or dramatic world. A skirmishing party of colds, catarrhs, and influenzas prelude the advance of winter, and many a distinguished artist, disabled, has to retire to the rear. Among others, M. Gueymard has been incapacitated by a severe lumbar affection, or, as we should say, a lumbago, and the revival of Halevy's Juive would have had to be postponed had not a M. Rénard been in readiness to supply the gap. Mlle. Marie Sax made her first appearance in the part of Rachel, and thoroughly succeeded in the attempt. Mad. Vandenheuvel-Duprez, as the Princess Eudoxia, was no less successful; while M. Rénard looked the character of Eleazar to perfection, and acquitted himself of the music to the entire satisfaction of the audience. All three artists were called before the curtain. This revival, it is presumed, will carry the opera on to the production of the new ballet which, it is expected, will do great things. There has been considerable debate as to the title under which it is to appear. One of the authors was anxious to confer on it the Italian name Farfalla, which, being interpreted, signifieth butterfly. This was objected, however, with some show of reason, on the ground that the scene of the ballet is in Circassia; whereupon the Circassian term for that coleopterous insect was suggested, namely, Kelebek, but the sound was deemed too harsh for Parisian ears. The Persian synoyme, Pervaneh, was rejected for the like cause. Why all this overhauling of oriental dictionaries should be thought necessary it is difficult to conceive, when the French word Papillon would be at once euphonious and intelligible, without the aid of any moonshee or dragoman whatever; or again, the name of the principal personage, Leila, would be an unexceptionable title. It is curious how important a title is considered to be in theatrical circles, and how really little depends on it beyond the first few nights. Success will make the obscurest and most baroque title clear and euphonious as the jingling of louis d'ors. The Italian Opera has been in a perfect torrent of prosperity. The reappearance of Mario, and the return of Ronconi to Paris after an absence of ten years, have been the very intelligible cause of this flood of good fortune. Mario, Ronconi, and Alboni are the only Almaviva, Figaro, and Rosina of the day, and we doubt whether either has been surpassed of yore. The good Parisians, for once, are sensible of this artistic verity, and applaud them ad nubes. The new opéra comique by Scribe and Auber is in full preparation. The principal artists to whom it is to be intrusted are Mlle. Monrose, Mlle. Prevost, MM. Montaubry, Couderc, Barrielle and Ambroise. There is also immediately forthcoming a new opera in one act by MM. Sauvage and Ambroise Thomas. It is generally reported that an important change is about to take place in the artistic staff of the Opéra Comique. Mad. Ugalde is to retire and Mad. Saint-Urbain is to exchange the boards of the Italian stage for those of the Salle Favart. At the Théâtre Lyrique Orphée has been taken up again with Mad. Viardot, who has thus anticipated the period announced for her reappearance, namely the beginning of January. A Mlle. Oruil made her début in Gluck's Opera with some success. Her voice is fresh and flexible, though somewhat weak in the middle notes. The Français has had a successful new comedy by M. Camille Doucet, entitled La Considération. Regnier, Geffroy, Monrose, Bressant, and Mesdames Guyon, Favart, and Figiac play in it, all of whom are said to have good parts. The minor theatres have not been doing much. At the Palais Royal there has been a parody of Octave Feuillet's new drama Rédemption, and at the Variétés a new vaudeville called Guide de l'Etranger dans Paris, in which Le Clerc and Mlle. Alphonsine play. Both novelties are by the same authors. Nov. 20. M. Gueymard having recovered the painless flexibility of his lumbar regions, the run of the Prophète has been resumed. It is fixed that the new ballet is to be called Le Papillon. A grand rehearsal has just taken place, at which Mad. Taglioni (the inventor of the ballet) was present, and we may expect the first night without delay. Mad. Penco has made her first appearance this season in La Traviata. She was recalled at the end of the first act, after the grand air "Follie, follie," and was warmly applauded in the brindisi, the duets with Gardoni and Graziani, and the whole of the third act. The Opéra Comique is up to the roof in preparatives. Another new opera, entitled André, in two acts, has been accepted. The words are by M. de Leuven, and the music by M. Porse. At the same time the new opera by Scribe and Auber is being zealously pushed forward. Meanwhile Mad. Cabel has been re-engaged, and has played in La Purt du Diable and l'Etoile du Nord. Mlle. Saint-Urbain, of whose intended début at this house I said something in my last, is to play the principal part in M. Offenbach's new opera, instead of Mad. Ugalde. The Odéon has just put forth an amusing "proverb," entitled Une Epreuve après la Lettre, and the Palais Royal presents its frequenters with a parody on Orphée, called J'ai perdu mon Eurydice. At the Variétés we are promised a "Revue," with the title Oh là, là, que c'est bête tout ça. The gods avert the omen! VIENNA. (From our own Correspondent.) ΚΑΥ. Nov. 6, 1860. A SECOND hearing of Der Fliegender Holländer confirms the impression that it is the most satisfactory and the least eccentric of all Wagner's operas. Written apparently before the ambitious intention of forming a new school of music for the future had seized and fettered the mind of the composer, it is a work containing some of the freshest and most vigorous efforts of his genius. Instances certainly occur where novel effects are attempted, in which the style subsequently adopted by Wagner is foreshadowed; but they are rare and almost forgotten in the many points of excellence to be admired. The overture-a composition of neither the form nor importance to justify that title-opens with a subject which most frequently recurs throughout the work. This theme pervades the opera, and is that with which the Holländer, in thought and presence, is identified. It is very effectively introduced, as the commencement of Senta's ballad in the second act, when she relates the story of the Flying Dutchman, and foretells her own destiny. Whether dramatically or musically considered, the treatment of this subject is most successful, and increases the interest of the whole work by the skilful manner in which it is made subservient to the progress of the plot. The notion may not be original, but its development evinces a knowledge of the resources of his act, which none but a thorough musician can attain. To the first act the storm and the chorus of sailors on board Daland's ship form a spirited introduction. As the tempest temporarily subsides, the tenor solo, a mariner's love song, contrasts well with the preceding and subsequent description of the elemental strife. The storm rises again (most graphically portrayed in the orchestra), as the vessel of the Flying Dutchman appears. The grand scena of the Holländer, “Die Frist ist um," and his following duet with the bass (Daland), are both in Weber's style, and would not be unworthy of that master's signature. The act terminates with a chorus of sailors as the ships set sail. After a short instrumental prelude the second act begins with a melodious chorus for female voices, sung by Senta's companions, while they spin. In this a striking effect is made by the women laughing in chorus, jeering Senta for her melancholy. Then follows Senta's ballad already mentioned, a composition full of character and dramatic feeling; after this there is a duet between the soprano and tenor, Senta and Erik, her betrothed, when the lover urges his suit in a most plaintive melody, not altogether new, but so harmonised and instrumented as in a great measure to disguise its Italian origin. At the conclusion of the duet Erik departs, and Daland (Senta's father) returns accompanied by the Holländer, in whom Senta recognises the object of her ideal love and destiny. It is in the treatment of this situation, the most important moment of the libretto, that the composer fails. The Holländer and his victim are made to stand and look at each other for some time, while their emotions, supposed to be under various influences, are very inadequately depicted by music in |