MUSIC AND THEATRES IN PARIS. (From our own Correspondent.)

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 Mlle. Emma Livry; is postponed, owing to the alleged indisposition of the last-named artist. Whether or not the malady of the principal danseuse is bona 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, inventress, and hundreds of artists and employés of all sorts on the tenter hooks of a permanent state of full reProcrastination is also the order of the day at the Opéra 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. Mlle. 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. Aimé Maillard, the composer of Les Dragons de Villars, has written for the Théâtre Lyrique, is also in the limbo of suspense, owing to the unabated attractions of Orphée and the Val d'Andorre.

hearsal.

At the Bouffes Parisiens the egregiously protracted run of the parody on Gluck's opera, Orphée 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 début on the same occasiona comprimariu 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 same 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 is 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 Théâtre Français 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 Cinna of Corneille 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 Passage Radtziwill, 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 Boieldieu 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 tinued." Favart, in a charming letter to his wife, while he admits very modest request that "his superannuated pension may be conthat the Flemish women are amiable, protests that he will never have eyes but for her. Gavandau, who, in 1793, was dismissed his post of officer in the milice Parisienne, supplicates the members of the Comité Révolutionnaire to reinstate him, not for his own sake, esteem of his comrades in arms, the highest pleasure and foremost "which is of little matter, but for the sake of the honour and need of a true Republican." Rouget de L'Isle writes for the directorship of the Opera. He promises "to rescue that magnifimake it a truly national stage, the most splendid and the least cent manufactory, that immense centre of French industry, and to 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 affliction (her sister Rebecca was ill)? It requires (viz. the theatre), a theatre, that a tragic actress should sometimes suffer human like a despotic tyrant, that our souls should not extend beyond the foot-lights. Allons, since I have a salary, I must turn somersaults like the clown (Paillasse) when the bills announce me." There is also a letter from Mad. Raucourt to André Dumont, a member of the Committee of Safety, urging him to obtain the She says, "Put my liberty of a woman who had been arrested. note in your pocket, that you may be reminded of my entreaties. Adieu, André, adieu. Thine!” ΚΑΤ.

OPERA COMIQUE. ITS ORIGIN AND PROGRESS.

(Continued from page 731.) DELLA MARIA.

ALTHOUGH less prolific than Dalayrac, Della 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 1764, 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 Della 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. He 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 Paesiello. In the different towns through which Della Maria passed, he had several operas performed, some of which were successful, among others il Maestro di Capella. At Naples he had made the acquaintance of Amaury Duval, who recommended him to his brother Alexander in Paris. As soon as he arrived in that city, Della Maria sought out the author of Maison à Vendre, and the latter being made aware, through his brother, that Della Maria was a distinguished pupil of Paesiello, confided

to him the libretto of Le Vieux Château.

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 Comédie Italienne opened to him spontaneously. Le Vieux Château was not the first of his works in the order of their appearance. Here is what Alexander Duval relates on this point:

"The sole recommendation of my brother would have sufficed to gain my interest in his favour (Della Maria's); but after a few days of acquaintance I was quite surprised to find in young Della 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 Della Maria was timorous, and how he used to get frightened in the evening in the woods of Romainville, 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 easily 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 Vieux Château; 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 Château, 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 Della 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'orgue), I will mention the duet—

"O ciel, dois-je en croire mes yeux ?"

in which the pupil of Päesiello is recognisable. The trio which follows• "Dans les détours du bois prochain,"

the stanzas sung by Mad. Belmont, which have become hackneyed.

Blinval's airThe duo

"Il faut des époux assortis;"

"Oui, c'en est fait, je me marie."

"Aimerez-vous votre beau-père?"

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 Della Maria were far from obtaining the success of Le Prisonnier. Le Vieux Château, 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 Château. The verve of Della 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 gained over that of the city. Both were rehearsing

unknowingly the same French opera; at last the Court Theatre got wind of the affair, 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 Wieden, 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'Opéra Comique, by Segur and Dupaty, was played between Le Vieux Château and L'Oncle Valet. Next to this last piece came Jacquot, ou l'Ecole des Mères (1799), La Maison du Marais, three acts, by Duval (January, 1800), and La Fausse Duègne.

La Maison du Marais was played shortly before the death of Della Maria t-a death in the saddest of manners. On leaving a friend's house where he had been dining he fell down insensible in the middle of the Rue St. Honoré. 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 Lemot, 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 is 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 Della Maria side by side with the best composers."

VIENNA.

(From our own Correspondent.)

THE reputation of the Kärtnerthor 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 Steinhäuser.

COMPTROLLERS.-Comte Lanzcoransky and Hofrath Raymond. PRIME DONNE-Mad. Csillag, Mad. Dustman Meyer, Mad. Wildaner, Mlle. Kraus, Mad. Hoffman, Mlle. Liebhart.

CONTRALTO-Mlle. Sulzer.

SECONDE DONNE-Mlle. Ferrari, Mlle. Weiss, Mlle. Kudelka, and Mlle. Koschok.

PRIMI TENORI-MM. Ander, Wachtel, and Walter.
SECONDI TENORI-MM. Gunz, Campe, and Barach.
BARITONI-MM. Beck, Hrabaneck, Libisch, and Rudolph.

BASSI Drachler, Schmied, Meyerhofer, Koch, Grauer and Hölzel, 1ST VIOLIN-Herr Helmesberger.

CONDUCTORS-MM. Esser, Proch, and Dessof.

general Directors. They are responsible for the orders of the The onus of management falls, as may be 'supposed, upon 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 tions being the while denied them. Patronage, the privilege of and petty annoyances incidental to their position, its chief attrac office, is moreover monopolised by the superior authorities, so that what inducement MM. Esser and Schober can have (except it be much drudgery, for it is nothing else, I am at a loss to understand. of a pecuniary nature, which I very much doubt) to undergo so continental theatre, Paris excepted. They are subject to certain The artists are well paid, perhaps better than at any other 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 Freischütz was not the only one who confounded Dalayrac with Della Maria. How often has Le Prisonnier been attributed to Dalayrac ?

† Some biographers assert that La Maison du Marais was played after the death of Della 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 dédit. Après tout, ce n'est que mille francs." "Mille francs, Mademoiselle, vous vous trompez; c'est dix mille francs. Lisez votre engagement." The lady was completely 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 being 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 Kärntnerthor 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 scène. 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 anatomical 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.

Letters to the Editor.

A NEW DODGE.

accom

SIR,-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 paniment 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, then, 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

[In a certain reign, which need not be specified, several of the clans of Scotland seemed to expect with impatience the arrival of the Chevalier, who was known to have been at Bar-le-Duc.. These several of the clans of Scotland were in hopes, when the Chevalier should have arrived in their part of the kingdom, of ravaging the estates of gentlemen, remarkable for their zeal to the House of Hanover. The members for that part of Britain did not dissemble their fears on this occasion. Cold air in the extreme is almost as bad as hot. Mundus alter et idem. W. Spark, you're wanted.-PETIPACE.]

CHURCH PSALMODY IN THE 19TH CENTURY. SIR,-The tune before the sermon here on Sunday last was "Rousseau's Dream" to a funeral psalm!! What next? Mr. Charles Horsley in the admirable preface to his Eightyfour Church Tunes (an excellent work), says :"Whatever talent the author of this composition possessed, one of the last of accusations that can be brought against him was any belief in, or respect for, the doctrines of Christianity; and, though I have no proof of my assertion, I have not the slightest doubt that this tune, bad in melody and worse in harmony, has already been put to the profanest use that can disgrace any community; and yet it is found introduced into the service of the Church!"

"Rousseau's Dream" to a funeral psalm at the church of a fashionable watering-place in the nineteenth century!!! What next? I am, Sir, your obedient servant,

THOMAS LLOYD FOWLE, Mus. Doc. M.A. 8, Steyne, Bognor, Nov. 26, 1860.

LONDON TONIC SOL-FA.

THE London Tonic Sol-Fa Choir gave a concert at St. James's Hall, on Tuesday night, which attracted a large audience, chiefly made up, it is reasonable to believe, of the friends and relations of the pupils. The principles upon which the Tonic Sol-Fa system of instruction is based, and the aim and hopes of its abettors, must be tolerably familiar to our musical readers. What it comprises of tangible and possible, has been dwelt upon; in what respect it must be looked upon as restricted, and in a certain sense utopian, has been pointed out. A new musical language for general application is neither necessary nor practicable. We cannot begin reprinting in strange characters all that has been produced which is worth preserving, and even the disciples of the Tonic Sol-Fa, if they are desirous of becoming acquainted with the existing treasures of art, must make themselves proficients in the established system of notation, which to judge from their announcements, is tacitly admitted by themselves. If, however, it be true, as is stated, that no less than 150,000 pupils, under the guidance of some 700 teachers, in various parts of Great Britain, are receiving instructions in singing on the Tonic Sol-Fa system, the fact that a vast number of persons are usefully employed, whose leisure time might be devoted to much less worthy purposes, is beyond dispute. All such associations deserve encouragement, their moral influence being as highly beneficial as their practical tendency is healthy and civilising.

The London choir, under the direction of Mr. W. S. Young, forms only a small contingent of the general body of Tonic Sol-Fa-ists, and is probably not the most striking example of its average degree of cultivation. Several of the compositions introduced in Tuesday night's programme were by no means well given, the intonation being unsatisfactory, the delivery of the voices abrupt and inharmonious, and nothing distinguishing the performance from ordinary exhibitions but a sort of dry mechanical precision seldom obtained, moreover, until after the first start, which was invariably less apparent, in some scarcely at all; and this goes far to prove more or less unsteady. In other pieces these deficiencies were that they might, with proper care, be speedily and altogether amended. The selection was as follows:

66

66

Moonlight song of the fairies"

"The little church"

"See our oars"

"Beautiful star"

Arranged by Mr. Henry Leslie. Palestrina.

Arranged from Auber. (!)

W. B. Bradbury.

Mendelssohn.

V. E. Becker.

Sir John Stevenson.

66

Blow, blow, thou winter wind' "When the earth is hush'd

Envy, eldest-born of hell" Hail, smiling morn"

Handel.

HERR MOLIQUE AND THE NORWICH FESTIVAL.-The 50 guineas presented to Herr Molique by the committee of the Norwich Festival, as remuneration for his successful oratorio of Abraham, has been returned by the composer, with a request that that sum should be appropriated to charities.

MR. WALTER LACY.-"This gentleman's Don Salluste, in the play of Ruy Blas," says the London Review, "is as perfect a piece of stage representation of the cold-blooded, self-possessed demon of the scene, as the imagination of the spectator, wrought up to the highest pitch by the vivid portraiture of Victor Hugo, can conceive. The rigid muscle, the fixed eye, the calm hollow voice, the imperturbable stony face, and the withering sneer, embodied all the salient points of the fiend, who plots a scheme of vengeance, distinguished amongst dramatic scenes for its heartless atrocity. Mr. Lacy never for a moment loses sight of his object, his soul is in it, you see it in the turn of his eye-the curl of his lip-the movement of his hands, and in that pitiless voice which runs to the heart like a bolt of ice."

Spofforth.

PART II.

"O hills, O vales of pleasure "See the chariot at hand " "The blue bells of Scotland "Life's pleasant sail" "Good news from home" "From Oberon in Fairyland" "Now pray we for our country"

Several things included in the above were radically unsuited to the object in view. To cite one remarkable instance, the chorus entitled " Greeting" involved a display of questionable taste on the part of the concoctors no less than of questionable execution on that of the singers. The name of Meyerbeer is attached to this piece, which is nothing better than a mutilated abridgment of the opening chorus in Robert le Diable, presented, too, in such a manner as virtually to strip it of its harmonious beauty. Such practices are, to say the least, reprehensible; and it is to be hoped that "Greeting" is not to be looked upon as a fair specimen of the

contents of the Tonic Sol-Fa Reporter, to the fourth volume of which, as the book of the words informs us, it belongs. The effusion which bears the name of "Call John" (Part II.), extracted from the same compilation, was perhaps intended as a satire on that portion of the musical community which has hitherto failed to discover the peculiar merits of the Tonic Sol-Fa method of vocal instruction. "Chorus may stand for the majority of ainateurs; "John" for their would-be enlighteners: -(Chorus) Call John! John! John!

(Chorus) No, no, no.

(Chorus) No, no, no.

ray, do.

(Chorus) No, no, no.

(John) Soh, me, do, ray ;
(John) Soh, fah, me, ray, do, me,

(John) Soh, me, do, ray, me, ray, do. (Chorus) No, no, no, Johnny! Johnny! Can you tell us, Tell us how to sing this song?

(John) No, no, no, never will I teach you how to sing. (Chorus) Ha ha ha ha! John! John! we've learn'd

this song.

(John) No, no, such a set of blunderheads

Will never learn to sing.

Nevertheless, if teachers of the new system were not more explicit than "John," the world might for ever remain in darkness on this particular subject. Happily, to all accounts they are, and " Fah, me, ray, do," &c., shuffled up no matter how many times, does not represent the whole of their professional stock in trade. "Call John," though in no respect a composition distinguished for beauty, in a strictly musical sense, was declaimed (sung would be hardly the word) with remarkable vigour, and welcomed with clamorous enthusiasm. The audience seemed as though they could never tire of it. Whether this hearty reception of a piece so entirely unmeritorious, and (with deference) so vulgar, is an incident upon which the promoters of the "Tonic Sol-Fa" may be felicitated may, we think, be open to doubt. Far more gratifying to all who regard their very praiseworthy efforts from a serious point of view, and for legitimate reasons wish them success, must have been the smooth and correct delivery of Mendelssohn's part-song, "O hills, O vales of pleasure." Music such as this cannot fail to work good to whatever cause may invoke its co-operation, its simplicity being not more inviting than its feeling is poetical and genuine. Each successive rehearsal of so chaste and beautiful a piece is calculated to improve the taste and elevate the ideas of beginners, under whatever system their studies may be pursued; and they who have the direction of the Tonic Sol-Fa movement throughout the country-a movement which, according to the manner in which it is controlled, may be one of real importance, or, to say no worse, of comparative insignificance should be anxious to include as much of the pure element in their course of instruction as expediency will allow, and as little of what is spurious, trivial or corrupt. Tuesday night's programme contained much that was good, but left as much to desire; conveying, moreover, in its general outline, no evidence of a clear and definite aim. How to sing should not be the whole and sole object in contemplation, what to sing involving, under the circumstances, a question of at least equal significance.-Times.

BURNS' COTTAGE.-We understand that Mr. James Allan, butler to Sir Edward Hunter Blair of Blairquhan, is to become tenant of Burns' cottage, having been selected from a number of offerers by the Incorporation of Shoemakers, to whom the property belongs.-Ayrshire Express.

MONDAY POPULAR CONCERTS.-The third concert was in no way less attractive than its predecessors, and again, in spite of a drenching and incessant rain, was the cheerful large hall filled by an' audience bent upon enjoying another of those excellent programmes which the directors know so well how to provide. Of the four instrumental pieces by Beethoven (to whose compositions the instrumental part of the programme was confined), three were heard here for the first time, showing that the management fully intends carrying out the promise made in the inaugurative address of "varying the entertainments as much as practicable, and frequently presenting new selections." The exception to the novelties was the quartet in C minor (No. 4, Op. 18), first introduced by M. Wieniawski, Herr Ries, M. Schreurs, and Signor Piatti, on March the 21st, 1859, and now repeated by desire. In parts suggestive of Mozart, yet stamped throughout with the individuality of Beethoven, it would be difficult to find in the whole range of its author's works a more charming composition, or one more likely to grow upon the hearer at each repetition. That it was rendered to admiration by MM. Sainton, Ries, Schreurs, and Piatti, we need hardly say, nor that it commanded breathless attention and the heartiest applause. The grand sonata in E flat (Op. 7) for pianoforte solus (dedicated to the Countess Keglevics) created the liveliest sensation. Mr. Charles Hallé's reading and execution of this fine work were alike masterly, and it is worth noting that he, played the whole from memory. Herr Von Lenz, the rhapsodical panegyrist of Beethoven, finds no praise too lavish, no simile too extravagant, in speaking of this sonata; but listening attentively from beginning to end we failed to realise either the "gerbes de feu" in the allegro, the "tear dropped from the eye of a Magdalen in the vale of sorrow " in the largo, or the "joyous company on the greensward," &c., in the scherzo; far less the "child tormenting the may-bug, and not desisting until he has torn off its last leg,' in the minor episode of the rondo finale. Fortunately the position of Beethoven is too surely established to be shaken; but had he been an ordinary composer we should have trembled for his reputation. The analyses of Herr Lenz are too frothy to inflict much injury. In the sonata in F major (No. 1, Op. 5) for pianoforte and violoncello, Mr. Charles Hallé enjoyed the co-operation of Signor Piatti, and with two such artists the performance, as may be imagined, was irreproachable. The sonata (in two movements, only-like that of Mozart for violin and piano, introduced last week) will doubtless be repeated. The grand trio (G major, No 2, Op. 1), in which the last-named gentlemen were joined by M. Sainton, although coming at the end of the programme, gave as much delight as any of the pieces that preceded it. Miss Gerard's nervousness interfered with her success in a very charming song from Mr. Macfarren's King Charles II., "Can'st thou deem my heart is changing?" and Beethoven's lovely air, "Know'st thou the land?" Mr. Santley sang Benedict's "Portrait-song" from The Gipsy's Warning, and the song of Figaro in the last act of Le Nozze, " Aprite un po quegli occhi," both with admirable effect. The selection from Spohr, Dussek, and Weber, which afforded so much satisfaction on the opening night, will be repeated by general desire on Monday, with the same artists. Mr. Benedict was the accompanist.-DODINAS.

THE FESTIVALS OF THE THREE CHOIRS.-A final winding up of the accounts of our late Festival has now taken place, the Rev. R. Sarjeant, Hon. Sec., having this week received from the Earl of Coventry, who, it will be remembered, was prevented attending the Festival owing to absence from the county, the munificent donation of 1007. to be added to the liberal sum already subscribed for the charity. The total amount thus received, therefore, is 1,3141. 8s. 7d., which exceeds the amount realised for the charity at the Worcester Festival of 1857 by no less than 2811. 11s. 1d., besides the surplus of profit (651. 5s. 4d.), which will be invested as already explained in the columns of the Journal. The largest collection ever made at these festivals, prior to 1860, was made at Gloucester last year, when 1,1437 3s. Od. was received, but the Worcester collection this year exceeds that amount by no less than 1711. 5s. 7d. We are glad to notice that already, before the last sounds of the Worcester Festival have well died out, the indefatigable conductor at Hereford-Mr. G. Townshend Smith-is exerting himself to make the next gathering of the Three Choirs, which will take place in that city in the autumn of 1861, at least as successful as those which have preceded it there. We announced at the close of our late festival that he had already obtained a good list of stewards for the next meeting, and the