A New operetta, in one act, entitled Romance! was produced on Thursday evening, and served for the formal rentre of Miss Louisa Py ne and Mr. H. Harrison, who (excepting on two occasions when the Crown Diamonds was given), during the run of Mr. Alfred Mellon's opera, Victorine, have been recruiting their strength, after the severe labours of the season. Romance! is the composition of Mr. Henry Leslie, and the libretto is from the pen of Mr. Palgrave Simpson. Nothing can be simpler than the story. It is, in fact, a mere incident, in which a romantic widow is weaned from her idol worship for a highwayman. The incident is not new, but Mr. P. Simpson has wrought newly with his old materials. There is mirth as well as interest in the plot, and the situations lie well for music. This little _ story has been illustrated in a highly spirited manner by Mr. Henry Leslie, who, in the music to Romance, has accomplished his maiden operatic essay with perfect suocess. He has gone to work evidently con amore, for in every instance the score betrays the ardent musician no less than the earnest thinker and worker. As a first effort for the stage, praise too high can hardly be awarded to the music. We are not now going to enter at length upon its merits. Enough at present to say, that the airs are generally grateful and effective, the concerted music fluent and smooth, and the instrumentation clear and sometimes ambitious. At first the audience were not particularly demonstrative; but they warmed as the piece went on, and became quite enthusiastic at the fall of the curtain. Everybody was called for, and then Mr. Leslie had to appear. The applause was universal. There was not a dissentient voice to mar the complete success of the new operetta.

The pieces which seemed to please most were, ballad, " Poor silly heart," sung by Miss Pyne and encored; duet, "Oh! 'tis dreadful!" by Miss Thirlwall and Mr. George Honey (this pleased the connoisseurs); serenade, "Look forth, beloved maid," by Mr. Harrison, encored ;part-song, " Welcome, Spring," encored; and concerted piece, " We've met and spoke," the last movement of which, owing to its own merits and Mr. Harrison's energetic singing,-was received wlUi sajUuwiiinu, «*.J » peated. The operetta terminates with a rondo bravura, which derived its chief effect from Miss Louisa Pyne's fluent and admirable singing, and which brought down the curtain with great applause.

The cast of the operetta includes four artists only—a small part played by Miss Woodward is scarcely worth mention— and Mr. Leslie has shown much tact in fitting the singers. Mr. Harrison acts the fictitious highwayman with infinite spirit, and sings in his best manner. Miss Pyne has little to do but to look romantic, which she does to perfection, and her singing throughout exhibited scarcely a flaw. Mr. Honey's antics and terrors make the audience laugh heartily, and Miss Thirlwall sustains with becoming ease the character of the wife of a silly mayor.

Mr. Vincent Wallace's opera, Lurline, is announced, and will be put into immediate rehearsal. What now have the sticklers for national opera to say against Miss Louisa Pyne and Mr. Harrison 1

Part I.


At the tenth concert, on Monday evening, the instrumental portion of the programme was taken from Beethoven. Herr Molique made his first appearance at the Monday Popular Concerts, a fact entitled to special record, since the absence of the name of so renowned a violinist had long been a matter of surprise, the great German virtuoso being particularly famed for his quartet playing. Herr Molique, however, would, we are informed, have played at the St. James's Hall at an earlier part of the season, had not certain engagements prevented his attendance. That he has appeared is matter of congratulation to all lovers of chamber music.

The programme of Monday last indicated no falling off, and may stand comparison with the best of its nine It was as follows :—

Quartet in P, Op. 18

Duet, "Vaghi colli"

Song, "May-dew" ...

Song, "The Bell-ringer"

Sonata Pastorale in D major, Op.!

... Beethoven.

,.. Winter.

... W.S.Bennett.

W.V. Wallace.

... Beethoven.

m Past II.

Sonata in G major, Op. 96, pianoforte and violin Beethoven.

Song, " The 6rat Violet" ... ... ... Mendelssohn.

Song, "O, tell me, shall my love be mine" ... H. Smart.

Trio, in C minor, Op. 1 ... ... ... Beethoven.

Conductor—Mr. Benedict.

Among the most admired of the instrumental performancestaking applause as a sign of admiration—was the sonata in G major, in which pianist and violinist each put forth his utmost strength. Finer playing, indeed, is rarely heard, and Mr. Halle and Herr Molique left the platform amidst the plaudits of the entire audience. Scarcely less interesting wa3 the Trio in C minor—the "Opus 1" of the Musical Titan—and which, of course, was executed to perfection by three such eminent hands (Piatti being the additional one). That such a work should be played last was to be regretted ; but, as Dogberry says, "An two men ride of a horse, one must ride behind ;" and something must be given for the finale. All the amateurs, as a matter of course, waited to hear the last note.

Mr. Charles Hallo played the Pastoral Sonata in his most finished and intellectual manner, and was recalled with enthusiasm at the end. Herr Ries and Mr. Doyle supported the second violin and viola with their accustomed ability and zeal, and the first quartet was one of the greatest treats of the evening. . _ ..;

Miss Susannah Cole, now one of our best soprano singers, gave Professor Bennett's beautiful song with so much expression and in such sweet accents, as to elicit a warm encore. The lady, however, only bowed her acknowledgments. Miss Cole, in her other song, "My mother bids me bind my hair," was no less happy. Miss Palmer took Mr. Wallace's new and most charmlu8 m^s m U*eW i«o si---.. Tn nth»r rpappcts theve was nothing to criticise. Miss Palmer's feeling is always genuino, and her taste seldom to be called to. account In Mr. Henry Smart's ballad her singing was all the composer could have desired.

Mb. J. Dtstin, Sen., gave, what he announced as his "Grand Retiring Benefit Concert," at Exeter Hall, on Wednesday evening. We are sorry to say there was by no means an overflowing attendance, and this in despite of the attraction of many popular, and one or two eminent, names figuring in the programme. When such artists as Madame Catherine Hayes, Madame Rudersdorff, Misses Susanna Cole, Stabbach, Rjinsford, Laura Baxter, Lascelles, and others, together with the London Glee and Madrigal Union, and th'o Orpheus Glee Union, in. the vocal department; with Mr. Viotti Collins, Miss Medora Collins, and Master Drew Dean, among the instrumentalists, fail to attract in such a locality as Exeter Hall, the fault must be in something else besides the performers. The truth seems to be, that people now-a-daya, when they make up their minds to go to a concert, consider what they are to hear, not, as they used to do, whom they aro to hear. Music is preferred to the interpreters, unless in the case of some extraordinary attraction, such as Mr. Sims Reeves, Herr Joachim and others, whose names are beacon-lights that allure afar. Mr. Distin's programme was of that desultory kind that could interest nobody, and persons who would be delighted to hear the same singers in a worthier selection, prelered remaining away. How in any other way is it possible to accdhnt for the wretched attendanco that greeted the last Bummons of an old favourite to perform an act of kindness in his behalf? There is a limit to every thing, and the miscellaneous concei t, once so popular with the music-going public, has seen its last day.

Newcastle-on-tyne.Appointment Of Organist To The Town Hall.—On Tuesday and Wednesday last the candidates for this appointment underwent an examination, when Mr. Win. Rea, of London, was declared the successful competitor. The professional umpires were Mr. Heury Smart and Mr. W. T. Best, and it is gratifying to record that their recommendation was promptly confirmed by the Town Council, on Wednesday last. There were nine candidates.

Opestno Op The New Harmonium, Malew.—On Wednesday erening last, the new harmonium for the parish school of Malew at BaUatalla, was opened in that building in the presenoe of a large number of spectators. As the cost of the instrument was not altogether defrayed by subscriptions, it was decided upon opening it by a tea festival, in order to raise the deficiency. An excellent tea was provided for the occasion by eleven ladies of the parish, and justice having been done thereto by about 200 guests, the choir, accompanied on the harmonium by W. H. QUI, Esq., sang several choruses, rounds, Ac, in a manner that elicited the warmest applause of the company. A beautiful set of dissolving views were then exhibited, whilst appropriate airs were played on the harmonium; and the national anthem having been sung, and several rounds of hearty cheers given for the Vicar, the tray-givers, the ladies who raised £8 by their bazaar, Ac. Ac., the company parted, all apparently delighted with the entertainment. No pains were spared by the worthy master and mistress in decorating the room. The harmonium itself, one of Evans's, is, in the opinion of all who have tried it, very superior j the tardiness with which instruments of this kind generally answer to the touch, and the harsh preponderance of the bass over the treble, have both been overcome by Mr. Evans: whilst the clear, flute-like tones of the treble, the deep diapason of the bourdon bass, the great volume of sound, and the exquisite motion of the wind-indicator, are beyond description.— Prom the Manx Sun, Isle of Man.

j \ Haebow School—A concert given by Mr. J. B. Turner, took place in the Speech Room, on Tuesday morning, and was attended by the Rev. H. M. Butler, M.A., the head-master, the master, and young gentlemen of the school, also by the principal families of the surnmnding neighbourhood. A very interesting programme was provided, in which M.Mart's famous duet for two pianofortes, admirably played by Mr. Walter Macfarren and the bineftciaire, formed a prominent Mature. Mr. Turner also played in a highly characteristic manner Herr Pauer's Cascade. M. Sainton contributed two solos, executed in lai» usual masterly style, and the vocal music was supported by Miss Dolby, Miss Banks, sriss g»rmv~ ituwtauil, ana Mi. Wimworni. who enriched the programme by a number of solos and concerted pieces in their best manner. Miss Dolby was in capital voice, and created a great sensation in her tlireo songs, "Tile Spirit Song," and "Thte Hundred Pipers," being encored, the latter with enthusiasm. Miss Banks in "le Bayliffe's daughtere," Miss Fanny Rowland, by her chaste and expressive rendering of "The beating of my own heart," and Mr. Wallworth in "I'm a roamer" (all encored), likewise carried the entire suffrages of the audience; and, to sum up, the concert was most enthusiastically received throughout, and appeared to give the utmost satisfaction to all present.

Leicester{From a Correspondent).—The eighth of Nicholson's "concerts for the people" was given on Monday evening, and to a crowded audience. The chief vocalists were Miss Fanny Reeves and Mr. Elliot Galer (both favourites here), who were received with great favour. Especial mention may be made of Miss Fanny Reeves's ballads, "Barney O'Hea," and " If I could have my way," and of Mr. Galer's "Death of Nelson." The duet, * O Maritana," must also not be forgotten. All of these were encored. A popular ovation also awaited Mr. Nicholson on his appearance to perform a flute fantasia on national airs. Thi9 was also persistently redemanded, but Mr. Nicholson contented himself with bowing his acknowledgments. An efficient little orchestra performed two overtures in excellent style, a Polka de Concert with cornet obbligato (played capitally by Mr. J. A. Smith), and for the first time in Leicester a selection from Dinorah (arranged by Mr. Nicholson), with the principal morceaux of this beautiful opera adapted as solos for the chief instruments. The romanza, "Fanciulle ehe il core," "The Shadow Song," and the famous "Sancta Maria," will, since Monday evening, ever be favourites with the Leicester musical public. Altogether this may be pronounced one of the best concerts of a very excellent series. The next concert takes place on the 13th of February, when, for the first time in Leicester, Handel's " Dettingen te Deum" will be given by The Leicester New Philharmonic Society. A selection from the Messiah will complete the programme, thus making a "Handel night." To J this performance as perfect as possible, Mr. T. Harper

has been engaged as principal trumpet. En passant, it may be mentioned that Mr. Willert Beale's great touring party (Sivori, Bottesini, &c.), visit Leicester on the 7th of February, under Mr. Nicholson's auspices, and that Elijah is to be performed on the 26th of March, with Mr. and Mad. Weiss, Miss Palmer, and Mr. Sims Beeves as principal vocalists, so that there is plenty of good music yet in store for the Leicester people before the close of the season.

Greenwich(From a Correspondent).—A concert was given on Thursday evening, at the Lecture Hall, by Mr. Henry R. Morlev, which attracted a numerous and unusually brilliant attendance. This was not to be wondered at, when the names of such artists as Mad. Clara Novello, Miss Dolby, Mr. Sims Reeves, Miss Arabella Goddard, and M. Sainton, were set forth among others in the programme. Indeed, a more powerful array of talent is seldom met with in London on any one occasion, except at the most recherche" concerts of the season. To the above we must add Miss Eleanor Armstrong and Mr. ©. A. Cooper. The chief vocal points of attraction were Mr. Sims Reeves in " Adelaida," accompanied on the pianoforte by Miss A rabella Goddard, enthusiastically applauded; Madame Clara Novello in Benedict's rondo " Prendi per me sei Iibero," encored; Mr. Reeves in the " Last Rose of Summer," encored ; Miss Dolby in M. Sainton's Romance, with violin obbligato; and Mad. Clara Novello and Mr. Sims Reeves in the duet from Rigoletto, " E il sol del amina." The last was introduced, as Mr. Morley expresses in the prospectus, to gratify those who several years since had the pleasure of hearing a specimen of two-part singing unequalled. Miss Eleanor Armstrong, pupil of Mr. Frank Mori, has a pleasing soprano voice, and does no discredit to her master ; she sang the shadow song from Dinorah, and Mr. Mori's pretty ballad, "Where art thou wandering 1" two trios by different composers—" Memory," by Mr. Henry Leslie, and v "Hearts feel that love thee" (Athalie), by Mendeksohn—the former song by Miss Eleanor Armstrong, Miss Dolby, and Mr. Sims Reeves, and the latter by Mad. Clara Novello, Miss Eleanor Armstrong, and Miss Dolby, were also among the noticeable performances ot the evening. Miss Arabella Goddard played l'halberg's fantasia on MasanieUo, and Mr. Benedict's on "Where the bee sucks." The first was tumultuously applauded; and Mr. Benedict's piece being encored with rapture, Miss Goddard, by particular desire, substituted Thdlberg's "Home, sweet home." More perfect pianoforte playing was never heard at Greenwich, or indeed elsewhere. M. Sainton performed the slow movement and finale from Mendelssohn's violin concerto with the utmost brilliancy and artistic finish, besides his own solo Introduction et valse de coneert. Mr. Morley, as everybody knows, or should know, is organist of the parish-church of St. Alphege, and an enterprising music-publisher to boot. The concert on Thursday was his second this season, and, as per announcement, his last. Should not its success rather stimulate him to give another ere the London season dazzles in its rising the mental vision of the Greenwich population.

Dublin.—It is a long time since the public had an opportunity of hearing better concerts than those that terminate this evening at the Rotunda. In the first place, the corps comprises no less than eleven performers—namely, Mesdames Corbari, Badia, and Fiorentini, Herr Reichardt, Signor Tagliafico—vocalists; Mr. Brinley Richards, Signor Sivori, Sig. Bottesini, Herr Engel, and Mr. Hatton—instrumentalists. In this unusually large company there is not one inferior artist, whilst several of them rank exceedingly high in their profession. Reichardt and Tagliafico are well known. The former is a sweet tenor; the latter is associated with some of the best sustained Italian operas that have ever been produced in Dublin. Mr. Brinley Richards is a favourite with all pianoforte players. As a composer his skill is undoubted, and Signor Sivori is a justly renowned perlormer on the violin. His style is particularly pure, and not disfigured by studied eccentricities Bottesini is a contra basso altogether unrivalled; in Herr Engel the Dublin public have become acquainted with a perfect master of the harmonium; and everyone is aware of Mr. Hatton's qualifications as a conductor. The lady artists, Mesdames Badia, Corbari, and Fiorentini, are all excellent—much better, indeed, than are generally heard in concert-rooms, otherwise they would not have been engaged for the Philharmonic concert. The Lord Lieutenant has signified his intention of being present at the final concert, this evening.—Evening Packet. W. A. MOZART.


(From the Niederrheinische Musik-Zeitung.)

ffn do not think we could begin a new annual volume of the Niederrheinische Musik-Zeitung better than by announcing the appearance of the fourth part of an artistic biography, the equal of which we should seek in vain among the literature of all civilised nations. With the fourth part of his work, Otto Jahn has given the finishing touch to the monument he has erected to the greatest master of any age—a monument which not only, like a sculptured memorial, recalls to our mind and renders present to us him in whose honour' it was raised, but which breathes intellect and life in every page, and opens the gates by which we arrive at the depths of genius. The work, too, is a monument of that earnest industry peculiar to the scholars of Germany. But, however meritorious industry and labour, together with thorough and conscientious investigation, may be, their invaluable results give the author only a partial right to the acknowledgments and gratitude of his contemporaries. That which, in the eyes of the musician aud the lover of art, imparts to this book its greatest value, is not so much its historical as its critically iesthetical contents. The analyses of Mozart's works afford us a clear insight into the master's process of working, for the author penetrates, as far as it iB permitted to human eye to penetrate, into the mysterious mode in which genius creates, and then exhibits to us, with conscious clearness, and not with fantastic sentimentality, the perfect beauty of the completed work of art, measuring and proving its truthfulness by the agreement which exists betweeu its purport and its form. A rich treasure of musically ajstbetical knowledge is contained in this book, especially in the last part, whose worth, when compared with the shallowness of our present artphilosophy, cannot be too highly estimated. May this treasure be drawn upon in every possible manner—that is to say, in the best acceptation of tho Wokl in *». J^. u.ufr .....j Uwmo the common property of all establishments for musical education, and in all circles where musical art is loved and practised, as well as in all those where men discuss and gossip about it. It is impossible to find a more powerful antidote against that stupor of healthy feeling for what is musically beautiful, which has overpowered a portion of the youth of the present age, than Mozart's music, the explanation of its essential qualities, and of the reasons of its especial beauties, as conditions of musical beauty generally.

Before we notice the rich contents of the fourth part, now before us, we cannot refrain from at once giving, in proof of what we have said, out of the first section (Book four, 12), which treats of Mozart's pianoforte music, a few of the principal passages referring to the sonata (the fundamental form, at the same time, of the symphony, the quartet, etc.).

"After the contrapuntal treatment of a theme in the strictly close style was abandoned, there arose in the development of the sonata, as the starting point, the characteristic extension of certain motives, in opposition to the free style with figures and passages, and particularly, side by side with the principal theme, a second theme, independently enounced, and, by sharply defined limits, standing prominently forth, which, in conformity with a rule soon established, commences in the dominant of the principal major key (C major, G major), or on the parallel of the principal minor key (C minor, £ flat major),these are the two principal supports of the movement: their farther working-out, their connection,by means of intermediate members, and the conclusion of the part, were not fixed by rules, except in so far as that the conclusion of the part followed in the dominant. In the place of a more or less elaborated transition into the principal key, came the important second part, the workii:g-out. One or more of the motives used in the first part, or even completely now oues, are subjected to a treatment, at one time more peculiarly hariuonic and at another thematic, which—by causing, with vivifying force, blossoms and fruit to spring forth from the germs contained in the former part—heightens the

interest, and, at the same time, organically effects the return to the first part; here, also, is artistic strength concentrated, geniality and mastery being especially manifested in the modulation and return to the first theme. The repetition of the first part takes place with various modifications, partly necessitated by the fact that the second theme now appears in the principal key, in which the movement closes; besides this, there may be introduced changes in the grouping of the separate elements, abridgment or extension of certain details, but especially a lengthening and heightening of the conclusion, which cause the first part repeated to appear as the third, not only as regards its arrangement, but its importance.

"Mozart found these elements and their organisation ready to his hands, bnthe extended aud stamped them in a manner corresponding to his own nature. With him, the second theme, which is here the principal subject of consideration, not only appears as an independent one, as it is always very definitely announced, but, in its whole character, as a counter-them» to the principal one, which, as such, stands out prominently in a remarkable manner from the mass of the whole part. It is in the formation of the themes, however, that Mozart's peculiarity is especially exhibited; its most prominent chnracter is vocality (das Oesangmlissige), in which Nageli (Vorlesungen fiber ifusik, p. 156), in consequence of a one-sided view of the freedom of instrumental music, beheld an abuse of style, and the ruin of pianoforte playing. We may say much more truly that Mozart essentially promoted what Ph. E. Bach considered to be the task of the pianoforte player aud composer (I., p. 10), and what Haydn adopted from him, namely, the task of writing vocally. There is a fact, too, which is not without significance: Mozart's musical education commenced .with vocal music, and his inclinations tended towards it in a higher degree than was the case with the composers above mentioned. Just as the pianoforte composer gave up the polyphonic style, and just as it was no longer a question of inventing a theme, to be worked out in certain forms according to rule, but of free melody, capable, .by its beauty and symmetry, of becomiug the satisfactory expresoiuLi wf n«4ne«iu fct-liug, Buij£ ueuraaarlly became the starting point for the formation of melody. We would not say that certain forms created for song should, without more ado, be transferred to the pianoforte; these could only constitute an analogy, and the laws on which they were based must necessarily be applied in conformity with the exigencies of the nature of the instrument. Hence, we never find in Mozart's pianoforte or instrumental compositions generally the forms of the Italian cantilena; a cursory glance at his Italian operas will prove the difference in the treatment of the melody. Where, in the instrumental works, there is any affinity with vocal compositions, it points to German opera, especially Die Zauberfiote, and this is very intelligible, for, in his instrumental music, Mi.zart gave his feeling the nearest and natural form of expression, without, as in Italian opera, being restricted to any particular form; as, in German opera, he treated song with the same freedom, the inevitable result was that the forms, already developed, of German instrumental music, presented him, in many points, support and analogies. Tiie general conditions of a beautiful melody, as grouuded on the mutual relations of interests, rhythms, and harmony, were perfectly appreciated in the pianotorte compositions. Each separate melody is completely developed as well as symmetrically organised, and possesses in itself character and significance, an excellence of foimal construction, rendered still more striking by that peculiar charm ot harmony and delicacy inseparable from Mozart's being. In the execution of such melodies the most beautiful excellence oi Mozart's pianoforte-playing, that something which, according to Haydn's assertion, went to the heart, was perhaps especially prominent; it is sometimes astonishing how, for instance, in the concertos, the principal effect is concentrated on the execution of a long, simple, and sustained melody, which he must have understood in a masterly manner.

"To this advance in the soug-like and significant treatment of the separate melody is joined an extraordinary richness of melodies generally. In the place of those connecting members which usually form runs and passages deduced from the prin

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GLEES, MADRIGALS, AND OLD ENGLISH BALLADS.—Tlie Last Week.— Egyptian Hall IDudley Gallery)—Tbo Loudon Glee nnd Madrigal Union, uuder arrangement with Mr. Mitchell, will repeat t'neir highly successful entcrUiiimont every evening this week, at qnarterpaat eight, and on Monday, Wednesday, and Friday mornings at half-past Two. being tite r final perf rmances. Conductor—Mr. Land. Literary Illustrator— T. Ouphant, E-q. The first part of the Programme for the Evening will he composed exclusively of the most celebrated composltio. s of the late Sir Henry Bishop, and the Second Part, as also the entire Morning Programme will lie selected from the most favourite Old English Glees, Madrigals and Ballads, which Mve been produced during the series. Tickets and places may bo secured at «r. Mitchell's Royal Library, S3, Old Bond-street, W.

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MUSICAL DIRECTORY, REGISTER & ALMANAC FOR I860.— Contents: Almanac with musical data; list of musical societies throughout the kingdom; musical transactions of the post year; names and addresses of professors, Diusie-sellers and instrument makers; and li-t of musi,c published between tho 30th .November, 1858. and 30th November, 185D. Price Is. fid.; per post. Is. 8d. PublUhers: Rudall. Rose, Carte and Co., 20, Charing Cross, S.W.; and Keith, Prowse and Co., 43, Clicaps.de, E.C.

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In crimson cloth, price 12s.

Tho original edition, witli i lust rations, and suj-erbly bound, Tnay still be bad.

ThiB unrivalled collection of operatic music en tain's 100 Gems from tlifl whola nf the bi-et Modern < "pirns, including:. Martha. La Truinta, II Trovntore, L"Uisa Miller, Rgoletto. Email i, Les Vfipn-a. Sonnnmbula. N-'rnm, Puritani, Don Pa>qunle, Lucrezin Borgia, Lucia di Lan>merm> or, Linda, E isire, Pil'.e du Regimeur, Robert Ic Diable, and Les Huguenots, all arranged for the Pianoforte Solo, by NonUnann.

Boosey and Sons, Hollow treot.

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