monotony; and if the organ should happen to be revoltingly out of tune, as might sometimes be the case, the performer should consider himself limited to a fifteenth repetition of those everfresh and beautiful melodies. In cases where the player accompanies the organ with his voice,-where a pedal passage is introduced,-where there is a monkey obbligato,-in short, where any gesticulation is required from either performer,-the duration of the entertainment should be limited to half an hour before each house, as a longer performance is an unreasonable tax on the physical powers of the executants. In case of sickness in any house which he might visit, I think it should certainly be left to the judgment and good taste of the performer to determine how long he should play; and no remonstrances ought, under any circumstances, to be offered by the inhabitants. I trust that these few suggestions will be received in the spirit in which they are offered by those whose arduous business it is to perambulate the streets for our gratification, and I hope that they will meet with due consideration from all admirers of the Italian school of of organ-playing. I remain, dear Mr. Punch, very truly yours, are all NEW YORK.-Looking back during the period of some five or six months since I have written to you, I find that I have passed through some agreeable if not startling musical experience. Various brief opera seasons under transient Italian and German dynasties have come and gone. Stigelli, whom I hailed with rapturous delight on his first appearance here, has become the tenor of a New York audience. Fabbri has appeared and established a good lyrical reputation. Colson has sung and acted and dressed, and looked so indescribably bewitching, that with half the opera enthusiasts in New York I have fallen deeply-oh! so unfathomably deeply-in love with the delightful creature. Adelina Patti has worn her popularity not quite out-but sufficiently so to demand a change. Carl Formes has returned, and D'Angri has arrived, and that classic ruin Frezzolini, whose every operatic performance (notwithstanding her decaying voice) is positively worth shekels of gold, has flitted away down South, to Dixie, for all I know. Were you ever in the Mammoth Cave? It is, with all its wonders, the most god-forsaken, dreary, gloomy spot mortal ever entered. Yet there is some strange mystic power in the place to transfigure the weakest, most wretched music into harmony for the celestial spheres. After poking about in the bowels of the earth for three or four hours, visitors to the Cave arrive at Echo River, where they embark on a disgustingly muddy scow, or if the party is large enough, two or three wretched boats are brought into requisition. The women dressed in fancifully coloured bloomer dresses, and with the uplifted lanterns, present a strange and weird appearance as the boat is pushed from the shore, and floats down into the black gloom, the lights reflecting themselves on the surface of the deadly still water, and lighting up with strange effect the arch of rock overhead. When they are fairly out of sight we enter the other boat, and ourselves push out into the dark stream. Darkawfully dark it is. The dark river of Death finds on earth no more vivid parallel than this. You know, in the first picture of Cole's "Voyage of Life," the gloomy river of the past, from which floats out into life and light the little boat of the baby voyager. The stream issues from a dark rocky cavern, mysterious and unknown. Such a stream is this on which we are embarked. Silent and gloomy, dark and mysterious, it serves as a type of the past and the future-of the past mystery whence all life evolves of the inscrutable future whither all life tends. The feeling of security is not very great. The boat sinks down almost to the water's edge, and the perpendicular slippery rocks on either side offer no ledge on which a shipwrecked voyager might find a temporary footing, Above, sometimes so low that you must crouch to avoid it, and again so high as to be scarcely visible, rises the rock-roof, while the water in which you glide is thirty feet in depth, and as cold as the brow of a corpse. There is no sound but the rippling made by the boat; not a cricket along the shoreless stream, not a fish to plunge up and flash a moment in the air before returning to its watery home-no symptom of life, no sound, no motion save that made by ourselves. Hark! there is a sound! Far off a delicate shade of music, so faint as to seem the ghost of some wandering echo. But by degrees it increases. It becomes clear and defined. Rich harmony trembling with strange sensuous wildness-fluttering around the rocky projections, swelling in waves of harmony to the arched roof above. Now it appears to come from one direction, now from another. Anon a higher note or strain is heard like some clear voice rising above a mighty chorus. Never did syren sing more magic songs to listening traveller, never did the mysterious maiden of Lurlei-burg chant more entrancing melody to the unwary boatman who floats along the moonlit Rhine. Suddenly a turn of the boat brings you opposite a break in the perpendicular rock-shore, and perched upon a mass of broken rock you see a party of four negroes playing upon violins and a cornet. Those are the syrens, these the Lurlines of Echo River. Out on the earth's surface their music would be merely quaint and odd, but here, in the Mammoth Cave, it is weird and unearthly. Floating away, out of sight of the above minstrels,-who are in fact the barber, bootblack, or waiter from the hotel at the mouth of the cave-their music resumes its supernatural tones and effect, and so until we land at the opposite shore of the dark river, it haunts the ear with its peculiar harmony-while ever after it forms the most vivid reminiscence of a visit to the Mammoth Cave. -Correspondent of Dwight's Journal of Music. BOSTON, UNITED STATES.-We hear of a movement for the organisation of an Amateur Musical Society, composed of gentleman in this city, who propose meeting weekly for the purpose of practising the orchestral works of the great masters, under the guidance of one of our best musical directors. In some features this organisation will resemble a club, which known to many of us as the "Boston Amateur Club" has existed here for many years (we think since about 1830) but has lately been discontinued. Most of the best members of the old Club, whose performances have been listened to by many of us with much interest, will compose the nucleus of the new organisation with the addition of some fresh active members, and, if found necessary, some professional talent. In one important point the It is intended to add associate enterprise will be new to us. members to the active ones of the association, somewhat on the plan of the Orpheus Club, so that those who cannot play may at least help pay, and have the pleasure of being present at the musical and social meetings of the Society, by thus contributing a part of the material aid which every such enterprise requires. The members are gentlemen of the highest standing in this community, of culture and refinement. We understand that the first meeting for the season will be held on Monday evening next, to organise for the winter campaign, which offers an opportunity for new members to join.-Dwight's Journal of Music. MILAN. Yesterday was given the Barber of Seville with a perfection of execution seldom heard on the stage of our greatest theatre. This could not be otherwise when the parts were confided to the artistic intelligence and prodigious throats of a Witty (Whitty), a Stecchi Bottardi, and a Ronconi. They did not sing the smallest branch of that divine music without being two and three times recalled; in fact the Barbiere was yesterday evening one applause, one ovation. Stecchi sustained his well-merited reputation; Ronconi betrayed a talent superior to every eulogium, and played the part of Figaro, both in singing and acting, to make it appear a novelty-a creation whose originality was all and en tirely his own. The Witty, who appeared in the Cenerentola, the humble, mortified, and ill-treated child of the ashes, became in the Barbiere the brilliant and astute Rosina. She adapted so well every expression of her face, every smile and every gesture to all the different and difficult points of her position, that it would be hard to decide whether she is more charming as a singer than she is as an intelligent and accurate actress. Don Bartolo (Parodi), Don Basilio (Rigo), and even Berta (Nebuloni), had applause in their airs, that they sang in a way that rendered them worthy of standing by the side of companions of such repu tation.-Lombardia. - At the Santa Radegonda the Cenerentola has ceased for the present, at least to triumph; the Witty in the last representation was regaled with a beautiful bouquet of flowers, that put a perfumed seal to the glory she has acquired this season, a glory of which she can be all the prouder, for it has been gained in a city that, in the art of singing, stands the first in Italy, which for so long has dictated the laws to every other country.-Gazetta. Advertisements. ST. JAMES'S HALL, MONDAY POPULAR CONCERTS. BY GENERAL DESIRE, A SECOND BEETHOVEN NIGHT, On MONDAY, DECEMBER 10, BEING THE LAST CONCERT BUT ONE BEFORE CHRISTMAS. " PROGRAMME. PART I-Grand Quartet, in A major (Posthumous), two Violins, Viola, and Violoncello, first time at the Monday Popular Concerts (Beethoven), Herr BECKER, Herr RIES, M. SCHREURS, and Signor PIATTI. Song, "The maiden and the river" (Benedict), Miss LASCELLES. Duet, Thy pardon, dearest treasure" Canzonet, first time-(Dussek), Miss AUGUSTA THOMSON and Miss LASCELLES. Sonata, in E flat, Op. 7, Pianoforte solus-second time at the Monday Popular Concerts-(Beethoven), Mr. CHARLES HALLE. O resume a still unsifted topic: то Some, even among the grave and wise, are led to regard music in no higher light than that of a frivolous and enervating luxury; but, on the other hand, it has had advocates, eloquent advocates, indeed-and among these many exalted and famous intellects. One of the sternest and least sensual of ancient legislators, the magnificent Lycurgus, was a great and earnest encourager of the "divine art;" one of the most learned and sagacious of ancient historians, the unequivocal Polybius, attributes the ultra-humanitarianism of the sons and daughters of Arcady to the universal influence of music among them, and the savage barbarity of their neighbours, the ferocious Cynethians, to their as universal neglect of, nay, contempt for it; one of the most urbane, polished, systematic, and far-seeing of modern philosophers, the Vol PART II.-Sonata, in F major, for Violoncello and Pianoforte-second time at the taire-worshipped Montesquieu, preferred music before all Monday Popular Concerts-(Beethoven), Signor PIATTI and Mr. CHARLES HALLE. Canzonet, Fidelity" (Haydn), Miss AUGUSTA THOMSON, Song, "Sweet evening star" (W. V. Wallace), Miss LASCELLES. Trio, in G major, for Pianoforte, Violin, and Violoncello-second time at the Monday Popular Concerts-(Beethoven), Mr. CHARLES HALLE, Herr BECKER, and Signor PIATTI. other means of recreation, and pronounced it the only one among the arts incapable of corrupting the mind-wherein, nevertheless, we find him unjust to the other arts; for although art may be corrupted, art which in itself is pure cannot corrupt. Then fancy the, if not exactly dry, laborious, and, though deep and wise, a thought pedantic Quintilian-or Quinc THE LAST CONCERT BEFORE CHRISTMAS, tilian: he is incessant in his praises of music, extols it not THURSDAY, December 13 (last time but one), ROBIN HOOD. Last night but one of SIMS REEVES. After FRIDAY, December 14 (last night of the Italian Operas), Grand Miscellaneous Performance for the BENEFIT of MLLE. TITIENS (being her and Signor GIUGLINI'S last appearance previous to their departure for the Continent), on which occasion will be performed the First Act of NORMA. Pollione (on this occasion only), Signor GIUGLINI; Orovesó, Signor VIALETTI; and Norma, Mlle. TITIENS. which, the Second Act of MARTHA: TITIENS, LEMAIRE, VIALETTI and GIUGLINI. To be followed by a Selection from IL TROVATORE, including the celebrated MISERERE, in which Mlle. TITIENS and Signor GIUGLINI will appear. To be followed by a Ballet Divertissement, in which Mile. MASSORT and Mad. MORLACCHI will appear. To conclude with the Fourth Act of LES HUGUENOTS, in which TITIENS and GIUGLINI will take their farewell. SATURDAY, December 15, the last night of ROBIN HOOD (last appearance of SIMS REEVES and last night of the season). Commences each evening at 8 o'clock. Reduced prices. To Correspondents. J. H. N. (Liverpool).-Spa was the place, not Baden-Baden. Sr. Bs. (Alsatia).-" Nunc tunc. Non habes aliquid dicere, bonum aut malum." "Macedonia (tamen) ante a nomine Emathionis regis, cujus prima virtutis experimenta in illis locis extant." This without malice, prepense or otherwise. merely as an incentive to valour, but as an useful instrument of moral and intellectual discipline, not merely as a pleasant auxiliary to science, and an object of attention to the most gifted among men, but as a source of comfort and an alleviator of toil to the humblest. And it is but truth to say that in this, like the illustrious author of the Esprit des Lois, Quintilian, or Quinctilian, is no more than just. What though the pluponderous Samuel liked not music; what though Othello cared not greatly for "a music that might be heard," and instructed his clowns to make his bridal serenaders "play soft;"-what of this and that? Read Shakspeare, with whose allusions to the art of their affection we will not insult our readers by presuming they are not familiar. Read Shakspeare, did we say? Read all the greatest poets. Even Walter Scott loved music, although incapable of recognising a tune he might have heard ever so frequently. His harmonious numbers would have showed that, had we not his historiographed words to attest it. We entertain an immeasurable, if not an incommensurable, esteem for the modern race of comic epigrammatic minstrels, whose lyres are strung with quirks, and who, headed by Horace Mayhew, and other versicular cultellators, twang the world to cachinnation; but would it be just to weigh them in the scale with Phoebus, with Hermes, with the demigods, or even with the mortal heroes of old Hellas? "We suppose, nay," as Aries the cowherd said, in reply to King Arthur's interrogatory about the legitimacy of Tor; "we suppose nay." The heroes (to pitch aside the gods and "demis") of ancient Greece, were 39 rescind the contract on giving due notice. The representations are "In the event of several persons tendering conjointly, they must hold themselves conjointly liable. "Those persons who are desirous of making tenders are invited to send them under seal to the Imperial Obers Kammereramte (Chamberlain's office), as being charged with the chief direction of the Court theatres." What is this but a tacit acknowledgment of the incapacity and uselessness of the present management? Although a is extreme, and not, in our humble opinion, very likely to change is absolutely necessary, the measure now resorted to succeed. Where is the sanguine entrepreneur to be found who succeed. Where is the sanguine entrepreneur to be found who will subscribe to such conditions as are here proposed? In plain terms, the announcement says that a private director is Music has ever been the wanted to carry on the operas at his own risk for a short time, while a new theatre is being built, the Government being unable, from loss of money or some other cause, to is to be liable to ejectment at the option of the Government, continue the present undertaking. The private entrepreneur upon a certain notice being given; he is to deposit cautionmoney to the amount of 5,000l., and his lease is in no case to exceed five years. As to the subvention mentioned, it must be looked upon as a bait to induce some private manager to carry on that which the State has found to be a losing speculation. The agreement to which alluequally onesided as those stated in the circular. Every sion is made, contains, we may suppose, other conditions publicity is to be given to the fact, that "it has been ordered that the management shall pass into private hands;" but if Ex uno-we forgot the rest. delight of accomplished princes and the most elegant amusement of polite courts. Thus might argue Mr. Samuel Warren, if not Mr. James Hannay, no less conservative though better worth conserving. Mr. James Hannay might argue (and may, if he pleases, in the Edinburgh Courant), that music is just at present so combined with things sacred and otherwise important, to say nothing of its close connection with our pleasures and amusements, that it seems almost a necessity of existence to nine out of ten of us. Magnam vim habet musica (Mr. Hannay might continue); it plays a considerable part in the Divine service of our churches; it is essential to military discipline; and, in its absence, the theatres would languish, if not die out. There is scarcely a private house without its flute, its fiddle, its harmonium, its harp, its organ, or its piano; it refreshes the fatigued spirits (animos tristes subitò exhilarat); is an antidote (when not an enchanting aid) to melancholy; and mitidote (when not an enchanting aid) to melancholy; and mitigates the pains of sickness. Still more, it is a blessing to humanity, for it tends to banish mischief*, and blunt the edge of care. We never much cared for street music; "the voice of a mandrake had been sweeter;" but that is beside the question. The theme is not exhausted, although our pen is dry; next week we may redip it and resume. WE -- E should hardly have expected such an immediate and complete justification of the remarks in the last letter upon the decline of the Vienna Opera, from our own correspondent at Vienna, as is contained in the announcement just issued by the Government, of which the following is a translation: "It has been ordered that the management of the Court Opera-house, lying contiguous to the Kärntner-gate, Vienna, shall pass into private hands, the concession to continue from 1st April, 1861, to 31st March, 1866; in the event, however, of the newly-projected Opera-house being opened by the expiration of the term stated, such concession thereupon to cease. the terms are none other than are set forth in the announce ment quoted, it will be more difficult than is supposed to find "private hands" ready and willing to direct the Court Opera-house of Vienna, notwithstanding the dignity of such a position. ANTEATER. MISS ARABELLA GODDARD has just concluded a short profes sional tour in Devonshire-a speculation (annually renewed, and with always increasing success) of the able and enterprising Mr. Ashe of Exeter. Brilliant and well attended concerts were given, alternately, at Plymouth, Torquay and Exeter-the lion's share falling to the capital town, as a matter of course. At all these the playing of Miss Arabella Goddard was the theme of unanimous admiration and applause. Her first appearance in London for the winter season is announced to take place in St. James's Hall, at the Monday Popular Concerts, Dec. 17th, when among other pieces she is to perform (with Signor Piatti), Professor Sterndale Bennett's sonata-duo for pianoforte and violoncello. HERR MOLIQUE AND THE NORWICH FESTIVAL. - The sum awarded to Herr Molique by the committee of the Norwich Festival, as a remuneration for his successful oratorio of Abraham, has been returned to the honorary secretary, Mr. Roger Kerrison, with a request on the part of the composer that it may be presented to the charitable fund in behalf which the festival was instituted.Times. * We have received several letters from correspondents in Devonshire containing details to which we shall give publicity in our next number Provincial. APROPOS of the erection of the New Music Hall, Brighton, the following letter has been addressed to the editor of the Brighton Herald: "Sir,-Since writing in your valuable journal on the subject of a Music Hall for this town-which subject, I believe, I chiefly originatedit has been discussed in many quarters; with fairness in some, with virulence and personal acrimony in others. It is pretty generally admitted that a larger hall is required than we actually possess, not merely for musical purposes, but for important town meetings, &c. The question remains, Who is to build it? Shall it be done by private enterprise, or by the municipal authorities? "With respect to private enterprise, the fact exists of a gentleman, the head of the leading musical firm in this town, having made an offer of leasing a part, not at present used, of the Pavilion property (not the Riding School); to pay rent for it; and to convert it, at his own expense, into the required Music Hall. This offer has been, as it would seem, systematically misrepresented. Mr. Wright has been abused for asking the town to provide him with a Music Hall, whereas the fact is that he does not ask the town for a single shilling, but would find the necessary three thousand pounds himself, and take the risk of failure. This offer is acceptable; for nothing prevents the town autho rities from inserting a clause in the lease to enable them to recover possion of the property at any time, and another to give them the use of the proposed Music Hall on stated terms. It is thus clear that the town can have its hall within a twelvemonth, through private enterprise, without the smallest risk, and with the advantage, when recovering possession, of having had it built on cheaper terms, most probably, than it could have done it for itself. If we turn from private to public enterprise, the solution of the question is by no means so easy. The town labours under the not uncommon want of money; the debt on the Pavilion will not be worked off for some fifteen years yet; and it is difficult, if not unfair, to increase the already heavy rates, although scarcely any other means offer to develope the great capabilities of the Pavilion property. In this pecuniary difficulty, what shall we do? Shall we sell the ground-rents of the Pavilion buildings? They would sell well, but we should forego great future advantages. Shall we build on portions of the Pavilion grounds-for instance, on the frontage in New Road? That would be advantageous, and would improve a locality that stands somewhat in need of it; but the inhabitants might not consent to lose a corner of the central lung of Brighton. If the town is to do anything, it would seem that the only plan is to procure a short Act, enabling it to extend the repayment of the Pavilion purchase-money over a long term of years, then borrow on the security of the rates the necessary sum for completing the appropriation. This will take some time to do; meanwhile the most feasible thing for the Music Hall seems to be to accept the proposals of private enterprise, for which the town, when it comes into money, can substitute its own action. But, above all, it is necessary, in discussing matters of such public importance, to do so fairly, and to lay aside all private pique or animosity. "I remain, Sir, your obedient servant, "AN OCCASIONAL CONCERT-GIVER." -Our Windsor correspondent informs us that Mr. Dyson's second concert took place at the Town Hall on Tuesday evening, under distinguished patronage. The singers were Miss Wilkinson, Miss Janett, Mr. Dyson, and Mr. Lambert; instrumentalists, Mr. Gunniss, violinist, of her Majesty's private band, and Mr. Goss Custard, pianist. The concert was well attended. The Bath Express has a long article devoted to Mr. Walter O. Gibbs' concert, given at the Assembly Rooms, Bath, Tuesday evening, the 27th ult., and which was an affair of more than ordinary importance, inasmuch as a trio and pianoforte sonata of Beethoven, and a violoncello sonata by Mendelssohn for pianoforte and violoncello, were performed. The programme was entirely instrumental, the executants being Mr. Walter Gibbs (pianoforte), Mr. Carrodus (violin), and M. Paque (violoncello). The strictly classical character of the selection does not appear to have been thrown away on the amateurs of Bath. The Express speaks in high terms of praise of the pianoforte used by Mr. Gibbs, sent especially for the occasion by the Messrs. Broadwood. ROYAL ACADEMY OF MUSIC.-A private chamber concert was given by the students at the institution, Tenterden Street, Hanover Square, on Saturday evening, December 1st, when the following selection was performed : Part First.-Scherzo, romance, and rondo, pianoforte and flute, from Sonata, Op. 11 (C. E. Horsley), Miss Brinsmead and Mr. Radcliffe. Duet, "Two merry gipsies" (G. A. Macfarren), Misses Robinson and Ibbotson. Song, "In a drear-nighted December" (J. W. Davison), Miss Bramley. "The Lake," "The Millstream," "The Fountain," three musical sketches for pianoforte (Dr. W. S. Bennett), Miss Walsh. Trio, The coming of May" (Walter Macfarren). 1st voice, Misses Armytage, Robinson, Sellman, and Walsh; 2nd voice, Misses Bramley, Henderson, Tayler, and Watson; 3rd voice, Misses Flewitt, Ibbotson, Pitt, and Spence. Song (MS.), "If to thy heart I were as near" (F. Westlake, student), Miss Henderson. Duet in B flat, two pianofortes (Schumann), Miss Tasker (K.S.) and Mr. Masom. Messrs. G. H. Thomas (K.S.), A.Williams, and F. Westlake. Song (MS.), Part Second.-Trio in E flat, pianoforte, clarionet, and viola (Mozart), "The Exile's Adieu" (Miss Jenkins, student), Miss Bramley. Introduction and rondo, violin and pianoforte (Spohr), Messrs. Amor and Weekes. Duet, "How beautiful is night!" (B. Richards), Miss Flewitt and Mr. Barraclough. Duet, allegro, brillante, pianoforte (Mendelssohn), Miss Lindley and Mr. J. B. Turner. Romance, "Long I've watched," preciosa (Weber), Miss Henderson; flute obligato, Mr. Rad2nd, and 3rd voices as above. The vocal music was accompanied by cliffe. Trio, "Rest thee on this mossy pillow" (Henry Smart). 1st, Messrs. J. B. Turner and Mr. H. R. Eyers. The entertainment was greatly enjoyed by a select company of friends and patrons of the institution, who were present by invitation. We trust this may be only the first of a series of such meetings. They are both useful and interesting. The more the students act for themselves the better. SACRED HARMONIC SOCIETY.-The performance of Solomon, which inaugurated the winter oratorio season on Friday evening se'nnight, was in almost every respect worthy of the high position by unanimous consent awarded to the Sacred Harmonic Society among the musical institutions of Europe. The admirers of Handel assembled in large numbers at Exeter Hall, and were more than usually warm in their demonstrations of satisfaction. Though Solomon, as a whole, is not to be ranked with certain of the more familiar works of its author-who wrote it in the decline of life, when his invention was on the wane, shortly before the loss of sight brought his career as a producer to an end-it contains quite enough of beautiful thoughts, of vigorous colouring, and ingenious contrivance, to stamp it with immortality. Its merits, and its shortcomings (such as they are), nevertheless have been sufficiently dwelt upon; and it is unnecessary to repeat what has so often been said in extenuation of one who rarely needed apology, but who in Solomon was trammelled with as feeble and ill-constructed a book as ever submitted to was composer. Wherever the subject is amenable to effective musical treatment, Handel is no less striking and impressive than in the Messiah, Israel, and other oratorios, where inspiration never failed him. Many of the choruses, indeed (we need not specify them all by name), reach the highest flight. As an example of antiphonal writing, "From the censer curling rise" (Part II) may be ranked with some of the finest of his so-called “double choruses"-examples of which, by the way, abound in Solomon. in pathetic force "Draw the tear from hopeless love" has hardly been excelled; while for dramatic expression "May no rash intruder" and "Shake the dome" (Part III.), in precisely opposite styles, challenge comparison with the most remarkable passages the domain of oratorio) Alexander's Feast. of a corresponding nature in Samson, Judas, Deborah, or (to quit Harmonic Society-who since the appointment of Mr. Costa choruses as they are now given by the members of the Sacred have continually made progress-is well worth a visit to Exeter Hall, and an attentive hearing of a much more unequal work than Solomon-which, it may be added, is so unsparingly condensed as to do away almost entirely with the prolixity inmeddle with Handel is a task both delicate and ungrate evitable where there are no omissions. We admit that to ful; but, on the other hand, the whole of Solomon at a sitting would exceed the limits of ordinary endurance. As well think of taking in Paradise Lost from end to end, without a pause. It is even found expedient to pass habitually one or two pieces from To hear such the third part of the always interesting Messiah; and perhaps the only oratorio of Handel which at public performances can safely be offered without curtailment is Israel in Egypt, which has the advantage of being as conveniently short as it is unceasingly sublime. That a judiciously abridged Solomon can not only be endured, but listened to, with unabated pleasure, was shown on the present occasion, when nearly all the choruses were more or less applauded, two of them-the epithalamium at the termination of Part I., and the martial ebullition in Part III. (one of the series in which the varied powers of expression attributed to music are so powerfully illustrated)-rousing the audience to enthusiasm. The solo music was in excellent hands. No one in our time has declaimed and sung the part of Solomon so admirably as Mad. Sainton-Dolby, who, now at the very pinnacle of her reputation as a mistress of the sacred style, seems resolved to put rivalry out of the question. The soprano music was divided between Mad. Lemmens-Sherrington, apparently summoned to fill the vacancy caused by the retirement of Mad. Novello, and the young and clever Miss Banks, one of Mr. Hullah's most promising discoveries, who, in the part of the Queen of Sheba, did full justice to her rising fame. What little is left for the bass enjoyed the advantage of Mr. Lewis Thomas's fine voice and ripe experience; while the arduous recitatives and airs of the tenor were allotted to Mr. Montem Smith, an artist who, to say the least, is invariably painstaking and correct. The band was as strong and efficient as in former seasons, and Mr. Costa (whose additional accompaniments were used) conducted the performance with his accustomed energy and skill. On the whole, this representation of Solomon more than sustained the credit of the Sacred Harmonic Society. The Messiah (the first of the Pre-Christmas series) was given last night. MONDAY POPULAR CONCERTS.-The epithet "popular," as applied to a performance of music, no longer means something adapted to an uneducated and unrefined taste-something in which the high and classic productions of the art are eschewed as being calculated only to weary the audience. At some of our popular concerts the customary fare is fit for the palate of the most fastidious amateur; and, far from being neglected on this account, such concerts flourish more and more. Such is the case with the Monday Popular Concerts, given every week during the season at St. James's Hall. At first we had some suspicion of the reality of the musical taste shown at these concerts. When we heard pieces of great length, highly complicated, such as we had always believed to be "caviare to the general," not only attentively listened to, but applauded with enthusiasm, we could not help thinking that there must be some affectation at bottom, and that people would tire of pretending to be delighted with things they did not understand! But time has shown that this was a mistake. These concerts, successful the first season, are still more successful the second. They are even improved in quality; an inferior piece is never admitted into their programmes, nor is an inferior performer employed. Yet the spacious hall is every night crowded to the doors by persons in the habit of frequenting cheap entertainments; and no assembly of cognoscenti could show a sounder or more discriminating taste. And the consequence is, that these concerts are now attended by the most musical people in London. -Spectator. MR. SIMS REEVES.-It may not be generally known that the domestic calamity which prevented this eminent singer from resuming his part in Robin Hood at Her Majesty's Theatre, on Saturday last, according to announcement, was the sudden and unexpected death of his father, which happened on the Friday previous, and rendered a suspension of all professional duties for a period inevitable. Our readers will hear with pleasure that Mr. Sims Reeves will positively re-appear on Tuesday, and perform in Robin Hood at least three times before the temporary close of the theatres. her Majesty's Private Band), and Mr. W. Goss Custard, solo pianist and accompanist. The concert commenced with the trio, "When shall we three meet again ?" sung by Miss Wilkinson, Miss Jarrett and Mr. Lambert. Miss Wilkinson next gave "Summer Night," by Henry Smart, very effectively, and "Take this cup of sparkling wine" her singing of which much gratified the audience. Mr. Lambert contributed two songs, Callcott's "Last Man," an "Old English Melody," and “The Holy Friar." He was in good voice and gave them with his accustomed power and success. Miss Jarrett gave great satisfaction, and was much applauded, in her songs, "I'm a poor shepherd maid," and "Truth in absence." Mr. Dyson's tenor voice was heard to advantage in "The Troubadour's Song," Verdi, and "Shine on Beautiful Star," in both of which he was very successful. The duet by this gentleman and Miss Jarrett, " Home to our mountains," was pleasingly sung. Mr. Gunniss and Mr. Custard each gave a solo, the former on the violin and the latter on the pianoforte. Macfarren's trio, The Troubadour," was very effectively sung by Miss Wilkinson, Miss Jarrett, and Mr. Lambert. The concert gave entire satisfaction to a crowded audience, and concluded with the "National Anthem."MUSICUS. OPERA, SIGNOR RE GALANTUOMO. The public is respectfully informed that the season of this popular Establishment will shortly recommence under unusually favourable auspices, and with the most powerful and talented Company ever yet brought before its numerous friends and patrons, while the répertoire will include a number of works entirely new to the majority of them. In proof of this, the Lessee submits the following list of artists, many of them of European reputation, and others of great promise. SIGNOR CAVOUR, (Primo basso profondo, of the Theatre Royal, Turin). (The unrivalled primo tenore di forza of the South American, Roman, Lombard, and Two Sicilian Opera Houses, unanimously pronounced by the entire press to be the greatest artist of the age). SIGNOR FARINI, (Of the Theatres Royal, Florence and Milan). (Whose performances at the Theatres of Ancona and Castelfidardo excited a perfect (Whose triumphs at the Theatres of Central Italy are too well known to need mention). The Company will also include other well-known artists, such as RICASOLI, RATAZZI, POERIO, And those youthful pupils of Signor Garibaldi, whose recent débuts at the Sicilian and Neapolitan Theatres excited the admiration of the most critical audiences-namely, Signori MEDICI, COSENZ, BIXIO, SIRTORI, TURR, EBER. DUNNE, WYNDHAM,' And others too numerous to mention. Among the novelties to be produced, [the Lessee would call especial attention to the revival of the famous Õperas, LA CONSTITUZIONE, IL PARLAMENTO, AND LA GAZETTA LIBRA, By Signor Inglese, For many years the most popular and attractive works ever produced at Turin, and which are almost unknown in other parts of Italy; and to LA LIBERTA, (an entirely new Opera, by Signor Garibaldi and the Lessee, in which the former will sustain the principal character). Other works by well-known composers will also be produced at the earliest possible opportunity; and in the spring, the Lessee hopes to enter into an engagement with the temporary managers of the Roman and Austrian Opera Houses, for the production of the great chef-d'œuvre L'ITALIA UNITA, the promise of which has excited such enthusiastic hopes in every civilised country. Should the Lessee be able to produce this long-expected work, the whole strength of his company will be engaged in its performance, and, if necessary, several French and Hungarian artists will be solicited to strengthen the caste. Further particulars will be shortly announced. ROYAL ACADEMY OF MUSIC.-The students give a concert today at the institution in Tenterden Street, the principal feature in which is to be a selection from Mozart's Idomeneo. WINDSOR.-On Tuesday evening, Dec. 4th, Mr. Dyson's second concert for this season took place in the Town Hall under distinguished patronage. The artists engaged for the occasion were Miss Wilkinson, soprano (of the Crystal Palace Concerts); Miss Jarrett, contralto; Mr. Dyson, tenor; and Mr. Lambert, basso. Mr. Gunniss, solo violinist (of | Eggs.) PUN. Let the organist of St. George's Hall, Liverpool, play ever so badly, at the worst he is BEST.-(Goose with the Golden |