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"Tire Wosth Of Art Appears Most Eminent In Music, Since It Requires No Material, No Subject-matter,
MUST BE DEDUCTED: IT IS WHOLLY FORM AND POWER, AND IT RAISES AND ENNOBLES WHATEVER IT
SUBSCRIPTION—Stamped for Postage—20s. PEP, ANNUM Payable in advance by Cash or Post-Office Order to B00SE7 & SONS, 28 Holies Street, Cavendish Square, London, W.
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.
MISS HELEN HOGARTH (Teacher of Singing) begs to inform her pupili and the public that she has RETURNED to town for the season, and has removed from Weymouth Street to No. 67 Great Russell Street, Bloomsbury Square.
MISS AUGUSTA THOMSON, being engaged to sing the MESSIAH, at Aberdeen, on the 28th December, begs to fay that she has a few days disengaged before and after that date, and would be happy to accept enits, en route to or from Scotland.—34 Holies Street, Caveudish Square, W.
QIGNOR and MAD. FERRARI
and friends they have REMOVED to 32 i
FLUTE, GUITAR, and CONCERTINA.—LESSONS by Mr. and Mad. R. SIDNEY PRATTEN, at 24 Holies Street, Cavendish Square, W., where may be had the whole of their publications for the above instruments, consisting of nearly 300 Pieces, vocal and instrumental.
PHILHARMONIC SOCIETY. —The Subscribers and the public are respectfully Informed that there will be EIGHT CONCERTS during the ensuing season, at the Hanover Square Rooms, on the following Monday Evenings :—March 4 and 18 i April 15 and 29; May 13 and 27; June 10 and 24. The terms of subscription and prices of admission will be duly announced."
LONDON QUINTET UNION. — Messrs. Westlake, H. Webb, Pettlt, Reynolds, and Maycock beg to announce that they' r. Danoo as Director for the ensuing season. T
London: Published by Duncan Davison & Co., 214 Regent Street, W.
"QCHOTTISH D'AMOUR," by Eugene Moniot.
lO The above new Schottish by the popular composer of " A Summer's Day," is just published, price 2s., by Duncan Davison & Co., 244 Regent Street, W.
NEW HARP MUSIC by C. Oberthur, "Thou art so near and yet so far." Reichardt'* popular song transcribed for the Harp by C. Oberthiir, Is just published, price 3s., by Duncan DaviEon & Co., 2ti Regent Street, W.
E W PIANOFORTE DUETS.
Difficult. S. d.
Don Pasqualb (introducing ** Com d gentil ") Rlcardo Linter 6 0
11 The last rose of Summer " (with variations) Mrs. Mounsey Bartholomew 3 0 Very Easy.
"Thou art so near " (Rrlchardt's popular Lied) Rudolf Nordmann 1 0
London: Duncan Davison & Co., 244 Regent Street, W.
-rCTEBER'S LAST WALTZ, transcribed by F. Rosen
VV Feld. This is one of the best arrangements for pupils, yet offered to the public, of the above admired waltz. It Js published, price 2s., by Duncan Davison & Co., 244 Regent Street, W.
« O ANTA LUCIA," by Eugene Moniot. The above
h3 popular Neapolitan melody specially arranged (without octaves), for young pianists, by EugSne Moniot (composer of "A Summer's D.iy'*) is just published, price Is., by Duncan Davison & Co., 244 Regent Street, W.
F. HARVEY'S NEW PIECES for the PIANO
. FORTE. .. A.
Cup'd's Repose" (Melody) ... ... ... ... ... 3 0
•• Pensex a moi "(Re>6rie) •■• ... ... ... 3 0
London: Duncan Davison & Co., 244 Regent Street, W.
"Mr. Harvey's composition! >re marked by a decided originality of character. A delightful flow of thoughtful melody pervades all his works. Mr. Harvey, as a writer of music for drawing-room performance, is justly becoming one of the most popular of the day."—Globe.
"rpHE LAST ROSE OF SUMMER," as a Piano Duet,
_L arranged with variations by Mrs. Mounsey Bartholomew, is jiut published, price 3s., by Duncan Davison & Co., 244 Regent Street, W.
N.B. The above piece will be found suitable for pupils, moderately advanced. Mrs. Mounsey Bartholomew's acknowledged experience (n tuition Is a guarantee of the excellence of the above arrangement for that purpose.
EMANUEL AGUILAR'S LATEST COMPOSITIONS.
"In a wood on a windy day * (poetry by Acton Bell)
"Sympathy" (poetry by Bills Bell) ...
"Farewell" (poetry by Bishop Heber)
"Sunset glow " (Reverie) (Dedicated to Mrs. Robert Cartwright.) 3 0 London: Duncan Davison & Co., 244 Regent Stre et, W,
"VTEW SONG—"That Handsome Volunteer," sung by
JL i Miss Emma Stanley in her popular entertainment of the *' Seven Ages of "Woman," composed especially for her by Emile Berger, is published, price 2s. 6d., by Duncan Davison & Co., 214 Regent Street, W.
"A ULD LANG SYNE," varied for the Pianoforte by
j 'V Albert Dawes, prico 5s., is published by Duncan Davison «Sc Co., 244 Regent Street, \V.
"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 <i*7 the variations. It is a good piece for practice, and not too difficult for the generality of players. W« heartily recommend it to our musical friends, to many of whom Mr. Dawes u already favourably known as a composer."—Hastings and Si. Leonard's }few$,
ALBERT DAWES'S MOST POPULAR ComPositions.
"Auld Lang Syne" (with variations) ... , "Hastings Waltzes"
"Anacreontic Quadrille" (on popular Glees) "Hastings Polka "... ... ...
"Southdown Polka" ...
"I slept, and oh ! tiow sweet the dream" ... ...
"Good bye, my love, good bye" ... ... ... ... .
London: Duncan Davison & Co., 244 Regent Street, W,
The day, pretty darling, draws.near to Its close,
Come, cease from your play, on your pillow repose, You peep from the cradle still laughing and bright.
Kind angels for ever preserve you, good night. With freedom from sorrow, dear child, you are blest.
To you a pure heaven is your fond mother's breast; Wild passion some day will your happiness blight,
Kind angels preserve you, my darling, good night. Ah ! happy is he who can slumber like you,' •
Be ever, dear child, to your Innocence true. The righteous are watched by the spirits of light,
Who guard them while sleeping, my darling, good night.
"Few songs of modern days have achieved a more decided or better merited sucei
than Herr Reichardt's charming lied." Thou art so near and yet so tar," which has for I last two years been the delight of all concert-goers and drawing-room vocalists of rooie than ordinary pretensions. Messrs. Duncan Davison and Co. have just pobbshed a new composition, from the same original and elegant pen. entitled " Good Night " la cradle soiV The word3 are exquisitely simple and unaffected, being the address ol a mother to her sleeping babe; anil it is but justice to Herr Reichardt to say that he 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 lor a tenor voice—the composer being, as our readers know, une of the first of li vocalists—is in the key of F major j and to amateurs of taste we can cxm.. mend "The Cradle Song" as a composition worthy of their attention." Mail.
MUSIC AND THEATRES IN PARIS.
Nov. 28, 1860.
The most remarkable event of the week—to borrow the phraseology of our Foreign Minister—is conspicuous by its non-occurrence. The ballet which has been so long talked of, and built upon as the invention of Mad. Taglioni, to be illustrated by the music of M. Offenbach and the choregraphic art of Mile. Emma Livry, is postponed, owing to the alleged indisposition of the last-named artist. Whether or not the malady of the principal danseusc is bond fide, or is of that convenient class of afflictions which come and go as the caprices of a public favourite fluctuate, I have not heard. The hitch is highly disagreeable, however, as it keeps manager, composer, inveutress, and hundreds of artists and employes of all torts on the tenter hooks of a permanent state of full rehearsal.
Procrastination is also the order of the day at the Opera Comique. The new opera which M. Offenbach has been writing in conjunction with M. Scribe, is still only in the state of promise. The performance has, however, been positively announced for this week. Mile. Saint Urbain, who is to play the part originally intended for Mad.Ugalde, is said to be thoroughly "up" in her part, and panting for action. The opera which M. Aime Maillard, the composer of Les Dragons de ViUars, has written for the Theatre Lynqne, is also in the limbo of suspense, owing to the unabated attractions of Orphie and the Val dAndorre.
At the Bouffes Parisiens the egregiously protracted run of the parody on Gluck's opera, Orphie aux Enfers—over three hundred nights—is about at last to be arrested, and Fortunio will reign in its stead.
Mad. Penco is shortly to make her appearance in Norma at the Italian Opera, and a new tenor from Sicily is to play the character of Pollio. There is also to be another debut on the same occasion— a comprimaria recently engaged by M. Calzado, whose vocal powers are highly spoken of, will canvass the suffrages of the public as Adalgisa. There is a rumour, of which I am unable to test the truth, that Signor Ronconi is shortly about to perform a histrionic tour de force, by playing Don Basilio and Figaro the Bame night. That this accomplished and versatile artist is fully capable of executing this feat, and keeping the individuality of the two characters in question as distinct as though there were two Ronconis equally gifted with the dramatic faculty, there can be little doubt. But, whether the proceeding iB not somewhat undignified, and savouring of a vanity unbecoming so great an artist, is another question. From this point of view, knowing the strong good sense of Signor Ronconi, it seems more than probable he entertains no such intention; at any rate, the feat is only possible in the first act.
One of the remarkable features in the present state of the play-going world is the reaction that is taking place in favour of the Theatre Francais and the legitimate drama. Something of this is no doubt due to the spirited and judicious management of the present director, but the chief cause is certainly that the public taste is sickened with the mawkish and immoral trash — the romance of the stews — with which such Writers as M. Dumas, the younger, &'C, have entertained them, outraging at the same time decency, good sense, and the purity of the French language. Within the last few days the China of Corncille has been revived with some features which are the reverse of new, but have created considerable interest. The part of Livia is restored for the first time since the original production of this tragedy, and the sacred law of unity of place has been violated by playing the scene alternately in the palace of Augustus and in that of Emilia— a violation which, however, expressly obtained the sanction of the illustrious author, who, in his Examen de Cinna, declares that common sense requires such an arrangement.
At the minor theatres there have been but two novelties. A comedy, or rather vaudeville, in three acts, at the Palais Royal, entitled Le Passuge RadtziwiH, which was not brilliantly successful, and a drama in five acts and ten scenes, mounted on the most elaborate scale, entitled La Dame de Mont Soreau. The authors are the experienced and illustrious collaborators, MM. Dumas and Auguste Maquet, and the success of the work is such as might have been anticipated from such a conjunction.
At this moment is proceeding a sale of autographs of considerable
interest, being the collection of M. Lajarriette. A few of the letters may be referred to here, as specially connected with "music and theatres." First, there is a little note from Boieldiett to Choron, in which he fixes 2,400 francs as the price of a "Te Deum" for the Church of Notre Dame. Paer, who was not so well off, addresses a petition to a minister of state, containing the very modest request that "his superannuated pension may be continued." Favart, in a charming; letter to his wife, while he admits that the Flemish women are amiable, protests that he will never have eyes but for her. Gavnndau, who, in 1793, was dismissed his post of officer in the milice Pariaienne, supplicates the members of the ComiU Revolntionnaire to reinstate him, not for his own sake, "which is of little matter, but for the sake of the honour and esteem of his comrades in arms, the highest pleasure and foremost need of a true Republican." Rouget de L'Isle writes for the directorship of the Opera. He promises " to rescue that magnificent manufactory, that immense centre of French industry, and to make it a truly national stage, the most splendid and the least burthensome which has ever existed in France or elsewhere."
There is a letter from Rachel. She is to make her re-appearance on the 1st of June. "But is it permitted," she asks, "in a theatre, that a tragic actress should sometimes suffer human affliction (her sister Rebecca was ill)? It requires (viz. the theatre), like a despotic tyrant, that our souls should not extend beyond the foot-lights. AUons, since I have a Balary, I must turn somersaults like the clown (Paillasse) when the bills announce me."
There is also a letter from Mad. Raucourt to Andr6 Dumont, a member of the Committee of Safety, urging him to obtain the liberty of a woman who had been arrested. She says, "Put my note in your pocket, that you may be reminded of my entreaties. Adieu, Andre, adieu. Thine!"
(Continued from page 731.) DELLA MARIA. Although less prolific than Dalayrac, Delia Maria presents a certain resemblance to him in the nature of his talent; grace and softness were qualities common to both these musicians.
There is some difference of opinion as to the date of this master's birth. Some have it he was born at Marseilles, in 17G4, of Italian parents, others in 1768. Duval, his intimate friend, makes him out to have died, at 27 years of age, in 1800, which would advance the date of his birth to 1773. M. de Borigelon states that his family was French, and his real name Lamaire. It would appear that Delia Maria had Italianised his name during his stay at Naples, or in order to facilitate the establishment of his reputation in France, foreign musicians having at all times had better chances of success than native artists. lie early devoted himself to the study of his art, and succeeded, while yet very young, in getting a grand opera played at Marseilles. It was well received by his fellow-townsmen, and flushed with his success, and full of confidence in the future, he repaired to Italy to complete his musical education, which was quite of an elementary character. He remained in Italy ten years, and studied there under several masters. The last was Piiesiello. In the different towns through which Delia Maria passed, he had several operas performed, some of which were successful, among others u Maestro di Capella. At Naples he had made the acquaintance of Atnaury Duval, who recommended him to his brother Alexander in Paris. As soon as he arrived in that city, Delia Maria sought out the author of Maison d Vendre, and the latter being made aware, through his brother, that Delia Maria was a distinguished pupil of Piiesiello, confided to him the libretto of Le Vieux Chateau.
Thanks to the fame and influence of his collaborator, the young composer had to endure none of the usual annoyances and disappointments which await the first attempts of a beginner. The doors of the Cotncdie Italienne opened to him spontaneously. Le Vieux Chateau was not the first of his works in the order of their appearance. Here is what Alexander t)uval relates on this point:
"The solo recommendation of my brother would have sufficed to gain my interest in his favour (Delia Maria's); bnt after a few days of acquaintance I was quite surprised to find in young Bella Maria a man as amiable as he was well instructed. Although an Italian and a composer, there was nothing like charlatanism about him, and he joined to simplicity of manners an originality which was quite piquant."
After recounting to what a degree Delia Maria was timorous, and how he used to get frightened in the evening in the woods of Roraainville, where Duval had a country house, the latter continues thus:—
"As he had too much wit to say that he believed in ghosts, he bethought him of other motives to account for his terrors. He admitted that he was cosily scared, and that night and solitude caused him actual distress. It was after this singular conversation that I told'him he had inspired me with the wish to give him a pack of cowards to write music for. Having no subject at hand, and being absolutely bent on gratifying his desire for an opera, contrary to my habit, I did not wait for the moment of inspiration, but at once composed for him Le Vitux Chateau; but scarcely had he finished the music for this when the idea of Le Prisonnier occurred to me. A month after the reading, and only a few months before the performance, of Le Vieux Chateau, Le Prisonnier was played with the greatest success.''
Some of the young musicians in the orchestra, however, finding this music too simple, put on periwigs, in order to throw ridicule upon the young composer's work. Their endeavours were fruitless. "It was a day for triumph to young Delia Maria," continues Duval, "his music produced such a sensation that the whole orchestra rose crying, bravo! and applauding by striking on their instruments."
The first performance took place on the 2nd of February, 1798. There are in this score several very remarkable pieces. After the overture, the commencement of which is original (two points d'orgtui), I will mention the duet—
"O ciel, dois-je en croire mes yeux?" !n which the pupil of Paesiello is recognisable. The trio which follow—
* "Dans les detours du bois prochain,"
the stanzas sung by Mad. Belmont, which have become hackneyed.
"H faut des eponx assortis;"
"Oui, e'en est fait, jo me marie."
"Aimerez-vous votre beau-pore?" Delia Maria had found some difficulty in composing music to the words last quoted. They were not sufficiently musical, and he went to his collaborator to ask him to alter them. Duval merely set about making him understand by singing them to an air which he extemporised, that, on the contrary, a greal deal might be made of them. The light dawned on the young composer's mind, and he returned an hour after with the piece finished. Finally, I will mention the pretty trio —
"Faut-il pour une bagatelle?" and the well known romance—
"Lorsque dans une tour obscure."
The great portion of these airs have become singularly antiquated, but this arises from the immense popularity they enjoyed, and popularity is, in my eyes, a great merit in a work, the style of which is inconsistent with too elevated a tone. The piece was remarkably well played by Elleviou, the friend and fellow-townsman of Duval, by Mad. St. Aubain, and Dugazon.
The other operas of Delia Maria were far from obtaining the success of Le Prisonnier. Le Vieux Chateau, however (March 16, 1798) was performed some thirty times. "It had the misfortune of coming after Le Prisonnier," Duval used to say.
On the 9th of December, 1798, our two collaborators produced L'Oncle Valet, which met with still less success than Le Vieux Chateau. The verve of Delia Maria was beginning to fail. L'Oncle Valet was played at Vienna, where it was heard by Weber, who, in one of his letters, says in reference to it:—
"Here now are some particulars of the victory which the Theatre an der Wieden has just gaiued over that of the city. Both were rehearsing
unknowingly the same French opera; at last the Court Theatre got wind of the nITair, and made haste to steal a march on the rival stage. The piece failed wofully. The next day it had the most brilliant success at the Theatre an der Wicden, since when it has had already seven or eight consecutive performances. The work is weak enough, the plot commonplace, the music light. It is by Dalayrac. • The opera is called L'Oncle Valet."
L'Opera Comique, by Segur and Dupaty, was played between Le Vieux Chateau and L' Oncle Valet. Next to this last piece came Jacquot, ou tEcole des Mires (1799), La Maison du Marait, three acts, by Duval (January, 1800), and La Fausse Duegne.
La Maison du Marais was played shortly before the death of Delia Maria f—a death in the saddest of manners. On leaving a friend's house where he hod been dining he fell down insensible in the middle of the Rue St. Honore. He was carried into a neighbouring house, where he expired without having been able to utter a single word, and as no one present knew him, he had to be taken to the Morgue. Duval, his universal legatee, had him buried on his property in the country. The architect Lecomte, Isabez, his brother-in-law, and Lcmot, erected a monument to his memory.
Dalayrac pronounced a funeral eulogium over his tomb. "I shall not undertake to analyse his works. It will suffice to say that they abound in agreeable and flowing melody ; that their style 'js pure and elegant; that the accompaniments are light and brilliant; lastly, that they are full of charming thoughts, and that these qualities, combined with the genuine expression of the words, which is extraordinary in a disciple of a foreign school, have placed Delia Maria side by side with the best composers."
(From our own Correspondent.')
The reputation of the Kartnerthor Opera House, although, for reasons which shall hereafter be considered, now somewhat on the wane, will give an interest to the following list of the managers and singers at present employed in the undertaking:—
General Directors—MM. Esser and Schober.
Finance Department—Herr Steinhauser.
Comptrollers.—Comte Lanzcoronsky and Hofrath Raymond.
Prime Donne—Mad. Csillag, Mad. Dustman Meyer, Mad. Wildaaer,
Mile. Kraus, Mad. Hoffman, Mile. Liebhart.
Seconde Donne—Mile. Ferrari, Mile. Weiss, Mile. Kudelka, and
The onus of management falls, as may be [supposed, upon the general Directors. They are responsible for the orders of the comptrollers being carried out, the production of the operas, &c, &c, not by any means an enviable responsibility. Without the excitement of speculation, which is supposed to be the great charm of a theatrical manager's vocation, these gentlemen have all the trouble and petty annoyances incidental to their position, its chief attractions being the while denied them. Patronage, the privilege of office, is moreover monopolised by the superior authorities, so that what inducement MM. Esser and Schober can have (except it be of a pecuniary nature, which I very much doubt) to undergo so much drudgery, for it is nothing else, I am at a loss to understand. The artists are well paid, perhaps better than at any other continental theatre, Paris excepted. They are subject to certain arbitrary rules and regulations, in nature somewhat similar to those I quoted in my last letter for the guidance of the public. One condition of their engagements is, that they pay a certain sum, be
* The author of Der FreischiUz was not the only one who confbundtd Dalayrac with Delia Maria. How often has Le Prisonnier been attributed to Dalayrac?
f Some biographers assert that La Maison du Marais was played after the death of Delia Maria. Duval states expressly that he died shortly after.
sides forfeiting a proportionate amount of the salary, for every performance they may miss. This reminds me of an incident in Paris some years ago, where the same stipulation is made with the artists of the Grand Opera. Dining with a celebrated prima donna (who has since retired from the stage) she informed me of her intention not to sing the following evening, saying she would pay the forfeit rather than do so. Notice to this effect had been sent to the theatre. During dinner the director of the theatre arrived, and was admitted. "Comment, Mademoiselle,vous ne chantez pas demain?" "Non, Monsieur, je veux me reposer, et je payerai le dedit. Apres tout, ce n'est que mille francs." "Mille francs, Mademoiselle, vous vous trompez ; e'est dix mille francs. Lisez votre engagement." Thelady wascompletely taken aback. "Dix mille francs! Cela, par exemple, est trop fort,—je chanterai." However, to return to Vienna. Of the talents and vocal powers of the different artistes mentioned I have already spoken in the various operas that have been given lately. The band and chorus, formerly of such remarkable excellence, have suffered considerably from the fact of three conductors beiug appointed to a post which one alone should fill.
The retirement of Eckert from this position cannot be sufficiently regretted. Since he left the precision and vigour of both the orchestra and chorus have but too evidently diminished, and it is hardly a matter of surprise, when it is considered that three conductors, Esser, Proch, and Dessof, supply his place alternately, and thereby prevent the possibility of that unity of feeling so absolutely necessary between a band and its conductor, which can only be attained by long and constant practice with each other. It is to this system of divided management that the decline of the Kiirntnerthor Opera House is to be attributed. Its effect is observable in every branch of the establishment. Most evident in the band and chorus, it is also apparent on the stage in the slovenly costumes and careless mise en scene. Let us hope the system will be changed, and before^it is too late. Comte Lanzcoransky regain your vigour, and don't let the Opera House, which formerly was an honour to you, lose its reputation through your indifference and neglect.
Madame Csillag.—A life-size bust of this eminent prima donna, by Mr. Morton Edwards, is being exhibited. Of great merit as a work of art, it is also interesting as a likeness of the gifted artist, the sculptor having imparted to the "soulless marble" the characteristic expression and dignity of his subject. In this respect Mr. Edwards has followed the true principles of portraiture whether in painting or sculpture. With the authority of Sir Joshua Reynolds in favour of the opinion, we believe character, that is to say, individuality, to be of greater importance in this branch of the imitative art than a servile copy of the features. "When sculpture was in its infancy the power of merely producing the likeness of any object was considered as one of its greatest efforts. Those ignorant of the principles of the art talk the same language even to the present day. But when it was found that every man could do this, and a great deal more, by the observance of certain precepts, the name of genius then shifted its application and was given only to him who added the peculiar character of the object he represented; to him who had expression and grace, in short, those qualities or excellencies, the power of producing which is not the result of mere imitation; imitation being, in fact, only the means by which the sculptor presents his ideas to the spectator, while expression and grace are the manifestations of his genius. The sculptor's art is limited in comparison to others. Its essence is anatomioal correctness, and when to perfect form is added (so to speak) the intellectual qualities of grace, dignity of character, and appropriate expression, its purpose may be said to have been accomplished. A bust, correctly modelled, and presenting the characteristic expression of the original, will be recognised by all (although each feature may not individually be exactly copied) and excite the admiration of the connoisseur by the means by which the resemblance is produced. It is not, however, our intention any more than our vocation, to discourse upon the art of sculpture. We have been led to make the foregoing remarks by the apparent excellence of Mr. Morton Edward's bust of Mad. Csillag, which we strongly advise our readers to see and criticise for themselves.
fetters to tbc <£biior.
A NEW DODGE.
Sib,—On Saturday evening last a cart with three men drove up to my door, and said they came for a Collard's piano, for which they were sent by that firm. There was only one servant in the house at the time, but she fortunately had some experience of the deeds of London thieves, and very properly declined to deliver up my piano, which happens to be one by the makers in question. Had she allowed them to enter they would doubtless have gagged her, and not only carried off the instrument, but everything else they could lay their hands on, for I have since ascertained from Messrs. Collard that they bad not sent any cart in my direction for several days, and that consequently the men must form part of a gang organised for the commission of such robberies. As it was, they went away grumbling that they should be obliged to depart empty-handed after coming such a distance.
1 must remark, in addition, that the men could not give the name of the person to whom they were to apply for the piano, and that they doubtless selected Saturday as a safe day for the attempt, as for many weeks past I have left town on that day, which they must have observed.
You may possibly deem it worth while to insert this as a warning to unsuspicious housekeepers; and, trusting that it may be the means of frustrating similar plots,
I remain, Sir, your obedient servant,
* No. 11—NOT No. 2.
Dear Sin,—I observe that in the Musical World of the 10th inst., "Your oum Correspondent" at Belfast has been inaccurate in stating that ■ Haydn's Symphony No. 2," was performed at the recent concert given by the Anacreontic Society, on the 6th inst. It was No. 11 of the Symphonies composed by Haydn for tho Salaman concerts which was produced, and which was admirably executed by the amateurs of the Society, and by the professional gentlemen engaged for the occasion.
The symphony was highly applauded by the audience.
I am, dear Sir, Yours most truly,
John C. Boyd, Vice Pres. of the Belfast Anacreontic Society.
Sin,—You delivered a very strong anathema last week upon certain performances at the Leeds Town Hall concerts; more especially did you marvel at the "Organ and Pianoforte" accompaniment to Mendelssohn's Loreley, and strike terror into the heart of poor Master Tilney for having dared to compose and perform new variations on "The Harmonious Blacksmith."
Allow me to explain, in reference to the Loreley accompaniment, that as the society can only occasionally afford to have a band, works of this class can rarely be heard with more than a pianoforte accompaniment, or else they must be sealed to the multitude.
The organ was only added in this instance to give effect to certain passages for the wind instruments, which would otherwise have been lost with the piano solus. By persons well able to judge, the result was considered excellent, and by no means to be despised, in the unavoidable absence of a band.
Whole operas were given last season by Mrs. Wood, Mr. Burton, &c, with piano accompaniment only: surely, theD, the addition of such an orchestral instrument as our grand organ, if judiciously managed, is not to be condemned.
Touching Master Tilney's sin, will you allow me to ask (as you attack the principle only), in what respect his wickedness differeth from that of Dr. Chipp and others, who have done "The Harmonious Blacksmith with their own variations, and left Handel to look after himself?
If I remember rightly, too, you lauded the Chipp composition