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"THE WORTH OF ART APPEARS MOST EMINENT IN MUSIC, SINCE IT REQUIRES NO MATERIAL, NO SUBJECT-MATTER, WHOSE EFFECT MUST BE DEDUCTED: IT IS WHOLLY FORM AND POWER, AND IT RAISES AND ENNOBLES WHATEVER IT EXPRESSES"— Göthe

SUBSCRIPTION-Stamped for Postage-20s. PER ANNUM

Payable in advance by Cash or Post-Office Order to BOOSEY & SONS, 28 Holles Street, Cavendish Square, London, W.

VOL. 38-No. 50

V.

SATURDAY, DECEMBER 15, 1860

33.

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Conducted by Mr. Wrigley, which consists of 30 Performers, and is composed of the "Little Men," who play Operatic and Popular Music, and sing favourite Airs and Choruses. Also a Vocalist, and Solo Instrumentalists.

MISS

PRICE 4d. Unstamped 5d. Stamped

ISS HELEN HOGARTII (Teacher of Singing) begs to inform her pupils and the public that she has RETURNED to town for the season, and has removed from Weymouth Street to No. 71 Great Russell Street, Bloomsbury Square.

SIGNOR and MAD. FERRARI beg to inform their

pupils and friends they have REMOVED to 32 Gloucester Terrace, Hyde Park, W.

FLUTE, GUITAR, and CONCERTINA.-LESSONS

by Mr. and Mad. R. SIDNEY PRATTEN, at 24 Holles Street, Cavendish Square, W., where may be had the whole of their publications for the above instruments, consisting of nearly 300 Pieces, vocal and instrumental.

BUCKLEYS' SERENADERS.-St. James's Hall, Picca

dilly.-Crowded houses every performance. Every evening at 8, and a Day Performance on Saturday afternoon at 3. Tickets may be secured at Austin's Ticket Office, 28 Piccadilly, from 10 till 5. Stalls. 3s.; area, 2s.; gallery, 1s. No bonnets are allowed in the Stalls. Books of the Words, 6d. each. Change of Programme. "The most unique and varied entertainment in London."

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Prices of admission :-Reserved seats, 55. ; unreserved seats, 2s. 6d. and 1s. To be obtained of Mr. Thomas Weller, 2 High Street, Croydon; and of Mr. George Russell, High Street, Croydon.

ANTERBURY HALL CONCERTS.-This Evening, "Macbeth," &c. After which, the ETHIOPIANS, consisting of Seventeen performers, organised expressly for this establi: hment, for the performance of Vocal and Instrumental Music, Comic and Sentimental, with Negro Delineations, Anecdotes, &c., in addition to the usual entertainment. The Fine Arts Gallery is open from Eleven a.m. till Twelve p.m.

MUSICAL PRESENTS.The HOLY FAMILY,

Sacred Airs for Piano, by W. II. CALLCOTT; and the Adoration, by W. H. Callcott-each work complete in 1 vol., handsomely bound in cloth, gilt edges. 12s. Also, the Beauties of Beethoven, by W. H. Callcott, 10s. 6d. Each work is beautifully illustrated. London: Robert Cocks & Co., New Burlington Street, Regent Street, W.

THE COLLEEN BAWN QUADRILLE, finely illus

trated, 4s.

London: Robert Cocks & Co.

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Just Published,

Dr. MARK begs to inform young ladies and gentlemen who are preparing for the BREAK! BREAK! BREAK! A Song--words by

profession that he affords opportunities of introducing them to the public by performing at his concerts.

Orphans of the musical profession, and poor children possessing musical talent, are admitted free, and receive a general and musical education, together with board, lodg ing, and clothing, until the age of fourteen years, when they are either apprenticed to a trade or trained for the profession.

Little Boys, from five to nine years of age, apprenticed for three, five, or seven years by paying a moderate entrance fee to cover the expenses of instrument and books.

For Prospectuses, apply direct to the Royal College of Music, Manchester. Visitors are admitted from Nine to Eleven, a.m., and Two to Four, p.m. every day. Saturdays and Sundays excepted.

50

ALFRED TENNYSON, Esq., Music by E. BUNNETT, Mus. Bac. Price 2s. 6d.
London: Leader & Cock, 63 New Bond Street.

"The well-known and beautiful stanzas of the poet-laureate, which will at once be suggested by the thrice reiterated "Break," have frequently been set, with more or less felicity, but not often with such real and unaffected expression as by Mr. Bunnett, who, in the present instance, shows himself worthy to be a bachelor of the same uni versity where Sterndale Bennett holds the rank of professor."-Musical World.

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NEWSPAPER

EW HARP MUSIC by C. OBERTHUR,

"Thou art

SCHOTTISH D'AMOUR," by EUGENE Mer's Day! No near and yet so far." Reichardt's popular song transcribed for the Harp

Schottish by the popular composer of "A Summer's Day," is just published, for the piano, price 28. (Orchestral parts, 38.), by Duncan Davison & Co., 244 Regent Street, W.

by C. Oberthür, is just published, price 3s., by Duncan Davison & Co., 244 Regent Street, W.

WEISS'S NEW SONG "THE KNIGHT'S

EBER'S LAST WALTZ, transcribed by F. ROSEN- MR. WE Poetry by J. P. DOUGLAS.) Composed and sung by Mr. W. H.

WEBER'S

public, of the above admired waltz. It is published, price 2s., by Duncan Davison & Co., 244 Regent Street, W.

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"THE

arranged with variations by Mrs. Mounsey Bartholomew, is just published, price 3s., by Duncan Davison & Co., 244 Regent Street, W.

N.B. The above piece will be found suitable for pupils, moderately advanced. Mrs. Mounsey Bartholomew's acknowledged experience in tuition is a guarantee of the excellence of the above arrangement for that purpose.

NEW SONG" That Handsome Volunteer," sung by

Miss Emma Stanley in her popular entertainment of the "Seven Ages of Woman," composed especially for her by Emile Berger, is published, price 2s. 6d., by Duncan Davison & Co., 244 Regent Street, W. (Sung also with distinguished success, and invariably encored, by Miss Catharine Lucette, in her original entertainment, (with Captain Morton Price) at the Prince of Wales's Hall, Regent Street.)

WEISS.

The custom of watching armour in church was a religious duty imposed upon knights who used to consume whole nights in prayer to some saint whom they chose as their patron.

Sir Neville spurr'd his gallant grey,
And hied him on his lonely way;
But ere he from the saddle sprung,
The abbey's midnight chimes had rung.
He doffed his armour, whose fair sheen
The stains of battle ne'er had seen;
And said, "Heav'n send thee I may be,
A worthy son of chivalry."

In hours when bright remembrance came
Athwart his memory like a flame,

A crimson scarf was given to tell,
Of one who loved Sir Neville well.
The gift was fondly cherished yet,
And while his burning glance it met,
He sighing said, "Be thou to me
The beacon star of victory."

Sir Neville kept his vigil lone,
Till the matin star had come and gone,
Then donned his armour and away,
He sped him on his gallant grey.

In many a land on fields of fame,

The watchword was Sir Neville's name. Where fell the bravest, there fell he, Fighting for love and chivalry.

The above popular and romantic ballad, now being sung everywhere with the greatest success by Mr. Weiss, is just published, beautifully illustrated, price 38., by Duncan Davison & Co., 244 Regent Street, W.

BALFE'S NEWEST and most POPULAR SONGS. N térieuse, by Charles Marriott, dedicated to Wilkie Collins, Esq. is just pub

"I love you" (Sung by Sims Reeves)

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"Fresh as a Rose (Ditto)

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"If I could change as others change" (Sung by Laura Baxter) "I'm not in love, remember" (Sung by Miss Parepa) "Oh! take me to thy heart again" (Sung by Miss Poole) Published by Duncan Davison & Co., 244 Regent Street, W.; where "I love you" may be obtained, transcribed for the Pianoforte by Emile Berger, price 3s.

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The day, pretty darling, draws near to its close,
Come, cease from your play, on your pillow repose,
You peep from the cradle still laughing and bright,
Kind angels for ever preserve you, good night.
With freedom from sorrow, dear child, you are blest,
To you a pure heaven is your fond mother's breast;
Wild passion some day will your happiness blight,
Kind angels preserve you, my darling, good night.

Ah! happy is he who can slumber like you,'

Be ever, dear child, to your innocence true,
The righteous are watched by the spirits of light,"

Who guard them while sleeping, my darling, good night.

"Few songs of modern days have achieved a more decided or better merited success than Herr Reichardt's charming lied, "Thou art so near and yet so far," which has for the last two years been the delight of all concert-goers and drawing-room vocalists of more than ordinary pretensions. Messrs. Duncan Davison and Co. have just published a new composition, from the same original and elegant pen, entitled "Good Night" (a cradle song). The words are exquisitely simple and unaffected, being the address of a mother to her sleeping babe; and it is but justice to Herr Reichardt to say that he has wedded an exquisite domestic poem to a most graceful, unaffected melody, which breathes the very spirit of maternal tenderness. The song, which is written for a tenor voice-the composer being, as our readers know, one of the first of living German vocalists-is in the key of F major; and to amateurs of taste we can cordially recommend "The Cradle Song" as a composition worthy of their attention."-Liverpool

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JEW WALTZ, "The Woman in White," Valse myslished price 3s., by Duncan Davison & Co., 244, Regent Street, W.

EYERBEER'S ROYAL WEDDING MARCH

of the Princess Royal of England with Prince Frederick William of Prussia, which was played with such immense effect by the Band of the Guides at the Fete of the Orphéonistes at the Crystal Palace, is published for the Pianoforte, price 38., by Duncan Davison & Co., 244 Regent Street, W.

ASHDOWN and PARRY (successors to Wessel and Co.)

beg to inform the profession that they forward Parcels on Sale upon receipt o° references in town. Returns to be made at Midsummer and Christmas. London: 18 Hanover Square. PIANOFORTE DUETS.

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THE PHILOSOPHY OF MUSIC.*

Ir must be matter of observation that the practice of commenting upon art has now become a field of independent mental exertion, it having of late years been shown that, in the investigation of works of art, faculties and gifts of mind have been elicited as great and original as those which produced the art itself.

The reason of this is apparent in the consideration that amongst the votaries of the arts there are always some in whom susceptibility to impression is greater than the faculty of demonstration; and thus in these the artistic energy vents itself in adding its fire to ideas already formed and inspired; in imparting a second soulthe added soul of their own pent rapture-to an object of art, by means of some other medium of expression. It may be language. Thus their minds are driven into the recesses of the object of art they contemplate. Thus the artistic impulse is brought to bear upon art itself, and thus the above object comes out from this process still further spiritualised. If I were to define art, I should say it is preceded by a distinct emotion of admiration, created through the influence of some external object of beauty, or by an indefinite rapture of feeling aroused by the general action of outward nature, upon the sense and intelligence of man. It arises in the tendency this condition of feeling exerts to push the pent ardour, amassed in the receptive channels of the mind, outwardly, through the demonstrative faculties of the nature; to employ the outward senses; to wreak itself upon expression.

In consummating this expression, it involves the action of that remarkable tendency prevailing in the human breast whenever charged with an emotion partaking of the character of admiration, to reproduce, to conjure up again and again the natural influence of that feeling. Thus the painter reproduces upon canvas the fair aspect of nature that impresses him-thus the lover conjures up, in poetic rhapsody, the charms which excite his admiration. Now, this reproduction of the external influence of emotion constitutes art. But it must be remarked that the impulse of the breast, thus resulting in art, is twofold in its action. For the representation of an outward incentive of feeling not only in its production employs the demonstrative faculties-not only constitutes the expression of an emotion, but in its effect reacts upon the receptive faculties, and also perpetuates the emotion.

instances, led their commentators and recorders to totally new and original eminences of mental observation; and thus to these arts the human mind in general is greatly indebted for the discovery On the other hand, music, of all the arts, has hitherto been the of truths of deep import, and beauties of all-pervading influence. least serviceable in guiding the mind on its path of moral inquiry. The reason of this may be that, of all the arts, music is that which, in its own conquest and acquisition, absorbs more undividedly the whole attention, monopolises more completely the varied faculties, claims in a greater degree the continued experience of man, and thus reduces the function of its votaries solely to the illustration and interpretation of its simple effect. There may also exist another reason, which is revealed in the consideration, that music, with regard to other ministrations of art, deals the least with the palpable forms and influences of nature, and is the only one without the faculty of representing them in their natural aspect. Consequently, in tracing its influence, in wandering amongst its array of expositions, we meet with no effect common to other branches of moral demonstration, and with no suggestiveness which these influences possess is lost in the contemobject of external human interest. And thus the large sphere of plation of music. Thus the mind in the exploration of music does not arrive at new starting-points of thought, but traversing the etherial stream of sound, glides continuously on its emotional course, undiverted into new channels by the external features of

nature.

which we cannot grasp, cannot see, and can only feel. Thus in In the analysis also of musical effect we are searching into that inquiring into an effect we are analysing an emotion; whereas in the analysis of other effects of art, the mind is brought into contact with a material influence. In music it is mind acting upon mind. In the other arts, mind acting upon matter. In the case of music the intellect works inwardly. In that of the other arts, outwardly. And thus the result is, that in commenting upon musical effect, the mind is lost in its own mazes and checked in its progress. Thus its lucubrations in this direction are mostly of a metaphysical character; and meeting with so little support and light from without, the borrowed light of fancy and vague imagination is so often visible upon them.

In the following pages, however, an attempt is made to push the fragile skiff of thought along this subtle current; and by aid of the compass of known truth, the rudder of argument, and other mental means for obtaining steadiness and straight progress, to meaning of musical effect in the mind; to probe to its source this mystic Nile of tone, and to establish thereupon a few firm positions for the human intellect to affix its standard.

Thus art is the embodying an inward idea of beauty, by repeating in ideal form the external influence of that idea, and the expressing and perpetuating an emotion of admiration in the produc-gather reliable and practical information upon the nature and tion, and by the effect of this embodiment. This is art, and this is the operation of a great principle of the human mind, by means of which it may be said to multiply its offspring, to perpetuate the existence of its own emotions.

From this principle the whole phenomenon of art is developed, and by its aid can be accounted for. The distinction in character, for instance, between a natural influence and the same influence reproduced in the aspect of art, may be thus explained. The mind, in reproducing the object that elicited its admiration, recreates it in the light of that admiration, with those attributes of charm only visible in its original aspect, through the medium of esthetic taste and poetic meditation, in its artistic form, shining outwardly and apparent to ordinary contemplation. Thus it may bear its original shape, but its soul is no longer hidden, its beauty shines outwardly. It may reappear in bodily form, but its expression is spiritual.

Through these few remarks upon the general constitution of art, it will be understood how the attentive and intelligent observer of art may gain a deep insight into truth; how, through the effect of art, he may behold the spirit of nature; how it has been the destiny of many earnest writers upon art to attain to this comprehensive vision; to wield the Ithuriel spear of art as an instrument of moral application.

Poetry, painting, sculpture and architecture have, in several

* Introductory Remarks to the Philosophy of Music, being a series of essays, entitled respectively, "The Relationship of Music to the other Fine Arts," "The Moral Theory of Music," and "The Laws of Life in Art," which appeared in the MUSICAL WORLD. Corrected and amplified by the Author. By Joseph Goddard.

And as the deeper the voyager of discovery penetrates into the his own being, so does the mind in exploring its empire inrecesses of nature, the greater becomes his knowledge of the laws of evitably refract light upon itself; so may we in our present path of research gather new truth for the mind, as well as in casting the light of conquest upon our subject, still further develop its

resources.

When we pause in admiration of a flower, the reason is not only lulled by the absorbing influence of beauty upon the senses, and its subtle property of reaching the finer perceptions, without arousing the mind to conscious action; but the activity of the intellect is further superseded through the consciousness we possess of the origin and function of the flower in question. We do not regard this effect as the poet the stars, which he describes as “a beauty and a mystery." On the other hand we are all the while aware that the flower is a natural and necessary feature in the development of the plant whereon it grows. Though there may be in this object much food for reflection, there is still therein nothing, as in the case just alluded to, which strongly arouses the mental activity simultaneously as it invokes the admiration. Now this is the distinction at the outset between the state of the mind in contemplating the effects of all other species of art, and that which it assumes when wrought upon by the influence of music.

Here is a strangely beautiful phenomenon. But what is it? Is it "bright effluence of bright essence increate," or where is the connection between it and the world's more palpable and functional influences; as the flower and its subtle odour that floats like

sound through the air is threaded to the rest of nature by the fine tissues of the plant?

Now, in the course of the arguments pursued in the essay termed "The Moral Theory of Music," it is shown that music is the flower of human speech; that it is developed from the ordinary materials of language, as the blossom from the substance of the shrub; that it retains the finer attributes of speech, namely, tone, emphasis, and pause, as the flower still possesses in its roseate petals, the beautified likeness of the green leaves; and that it loses the mixed and dull sound of ordinary language, and wholly assumes the vesture of melody, as the flower relinquishes the opaque and neutral tints of the plant, and beams totally in the dazzling raiment of colour.

In closing these preliminary observations, it may be remarked, that in regarding "music" from the point of view occupied by this work, we do not discover it in its technical and mechanical details. We regard it as an astronomer a heavenly body; not so much to unfold its individual principles, as to discover those great laws that bind it to the universe; to trace the spring of its orbit, and the influence it exerts upon, and receives from, the other solar influences in the mental concave. Its surface aspect is not again gone over; but its rise from the general human horizon is endeavoured to be traced, and its power, brightness, and ultimate effect as a light in the moral firmament of man revealed.

Therefore, although the present work on account of its subject (and as tending, by connecting in a near relationship that subject with some of the most momentous, moral, and intellectual phenomena of man, to lift up the art of music to a lofty and dignified position in general estimation; to exhibit it by the light of reason to all, at this altitude, which otherwise were only visible to the believing few through the far more eloquent language of its effect), though for these reasons the present work recommends itself specially to the musician; still it solicits the attention of all who are interested in the philosophy of art generally; and through the light it endeavours to throw upon common human phenomena, the laws of the mind, the evolution of the feelings, and the principles of moral demonstration, in the subjects with which it has presumed to cope, it applies to all who possess emotion and employ a language.

THE ENTERPRISING IMPRESARIO.

CHAPTER II.

My introduction to the impresario, mentioned in the last chapter, led to many subsequent business transactions between us, which brought me into frequent communication with some of the most celebrated Italian singers at different times under engagement to him, and moreover, gave me an insight into the amenities and difficulties of his position.

I have seen the crowd of courtiers at his door, waiting patiently to be received by the successful manager. I have heard the mob of creditors clamour rudely for their rights, when the public was blighting all hopes of a replenished treasury by "damning" the last new opera. I have seen him in knee-breeches and silk stockings, a silver candlestick in either hand, proudly receiving royalty; and, oh! I have seen him when, in accordance with slavish custom, trying to walk backwards up the treacherous stairs, miss his step, and bump down in a sitting posture, candlesticks, knee-breeches, and all, in the front of royalty, to the horrible confusion of himself and infinite amusement of the lookers-on. Yes, there are indeed moments of striking contrast in the career of an impresario.

Among other distinguished artists with whom I became intimate during my association with theatrical affairs, was Lablache-old Lablache, the incomparable basso, the inimitable buffo-whose voice and presence moved us to tears in Norma, or made our sides ache with laughter in Barbiere. Dear old Lablache! with your fund of anecdote and bons mots you have left us, and your pretended successors do but prove the irreparable loss we have sustained. I was constantly in company with the great basso, and often had my pity excited by the inconvenience he suffered from his colossal proportions. No ordinary made chair was safe beneath his enormous weight; a servant, whenever it was practicable, carried one about for his especial use. It was difficult to find a

carriage the doors of which were large enough for him to pass; in London he had, of course, his own brougham in attendance. On one occasion the rehearsal at the theatre terminated sooner than was expected, and Lablache, anxious to reach home, ordered a street cab to be called. The driver looked alarmed when his fare issued from the stage door. "He'll never get in, sir," said the man despairingly to me, as I was shaking hands with Lablache, who also seemed to have his doubts upon the subject. We approached the vehicle-the door was opened wide. Sideways, headways, frontways, backways, the prize basso tried in vain to effect an entry. Without assistance it was impossible. Two men went on the opposite side, and dragged with all their force, while two others did their utmost to lift him in. "It's no go," cried the cabman; he'll ruin my cab." One more effort. A long pull, a strong push, a pull and a push together-the point was gained-Lablache inside, pufling and blowing from the exertion. But the difficulties were not yet terminated, he had inadvertently sat down on the wrong seat, with his back to the driver. Wishing to change the position, he rose; in turning round, the whole of his prodigious weight was upon the few slender boards forming the bottom of the cab. Imagine the horror of the cabman, the astonishment of Lablache, and the surprise of a large crowd which had been attracted by the terrible struggle we had had, when the boards gave way, and his two feet were seen standing in the road! The cabman swore, Lablache grinned, the crowd roared. No scene in a pantomime could have been more ludicrous. Fortunately Lablache sustained no injury; had the cab been in motion, the consequences of the accident might have been serious. The same process of shoving and pulling, but reversed, was necessary to get him out again. Whether greater violence was used than at first, or not, the door in this instance was torn from its hinges, and the cab (previously a good-looking vehicle) now presented the most melancholy appearance of a perfect wreck. The driver uttered curses both loud and deep, but was pacified by the assurance that the damage should be repaired, and his loss of time remunerated. I am not aware that the portly basso ever again attempted to ride in a hack cab.

Lablache was one of the "Old Guard”—one of that incomparable quartet of whom Grisi is now the only singer to be heard— the quartet for whom I Puritani was composed.

Rubini has gone. Tamburini has left the stage. Lablache is no more. Grisi alone remains, the last link in the chain which connects the Italian opera of our youth with that of the present day; and Grisi will (if it can be believed) make her last appearance before the London public next season. It is asserted, upon very good authority, that she will give her positively farewell representations at Her Majesty's Theatre, the theatre which more than any other, whether in London or Paris, is associated with her successes; the theatre which lost its prestige when she left it, and now that she is about to return, seems to be regaining its good name and to offer more serious opposition than ever to Govent Garden. If that mysterious attribute which we call good luck exists, no one individual can boast of possessing a greater share, in addition to transcendent talent, than Giulia Grisi.

Throughout her extraordinary career it has been always constant, and not only herself but those with whom she has been associated seem more or less to have been affected by its influence. I have heard Grisi tell the story of her début,-how, when hardly fourteen years old, she sang the part of Emma in the Zelmir at Bologna. It was at an hour's notice. There was no one to be found to replace the singer who had been suddenly taken ill. Giulia, hearing of the embarrassment of the manager, offered, to the surprise of all her family, her assistance, was accepted, and acquitted herself admirably. So satisfied was the impresario with her success, that he offered an engagement for the rest of the season. From Bologna Grisi went to Firenze, and thence to Milan in 1831. On every occasion the same "good luck" attended her, until her first appearance in London, in 1834, when, strange to say, the young débutante was but coldly received. She had previously, in Paris, sang with great success, when Laporte had heard and engaged her. Grisi was disconcerted with the reception of La Gazza Ladra, the opera in which she first appeared, and expressed her disappointment to Laporte. "Cela ne fait rien," said that enterprising impresario, "it will be all right." His prediction was fulfilled. Before the termination of the first season Grisi had

become a popular prima donna, a position she has ever since sustained against the opposition of innumerable rivals. Perhaps no singer ever paid so little attention to her voice than Giulia Grisi, none whose great dramatic effects were less premeditated and more impulsive. When the two theatres, Covent Garden and Her Majesty's, were open some seasons ago, I remember calling upon a prima donna of the latter house, and finding her reclining upon a sofa, with a cold water bandage round her throat, "What's the matter?" I exclaimed, fearing she was indisposed. "Oh, nothing," was the reply, in a very low voice, "but I sing to-night, and am making my usual preparation." On leaving this lady (as poor Albert Smith would have said) in pickle, I had occasion to call upon Grisi. Knowing she was announced to sing in the Huguenots that same evening, I was uncertain whether she would be visible. My doubts, however, were soon removed when I reached the house. "Madame is in the garden, Sir," said the servant, pointing to where he supposed his mistress to be. I followed his directions, but tried in vain to find the Diva, who presently came running out of the kitchen, making many excuses, and saying she had a new cook to whom she was obliged to give

instructions.

Letters to the Editor.

SACRED HARMONIC SOCIETY.

ANTEATER.

SIR,-"It is too much the custom of journalists to take for granted the performances of certain societies, especially with regard to wellknown works. In the case of the Messiah, for instance, a criticism of a performance of this universally appreciated work seldom appears. The consequence is, that this, the best known oratorio, is, all things considered, frequently very ill performed. If progress is to be the life of any musical society, the pressure of the critical screw should never be relaxed."

It was thus that Kewcha Sannyman, Esq., the well-known tenor, discoursed on Friday evening last, as he accompanied his friends to Exeter Hall. It was then many years since he had listened attentively to Handel's masterpiece, for he could found no original remarks upon so old a composition; and his invention having failed to produce new phrases, and especially adjectives and substantives of remote derivation, he took no interest therein. But on arrival at the well-known Hall, the rumour of a tightened rein and sharper bit in the mouths of desultory chorus singers brought unwonted fire to his eyes, and lit up his finely formed countenance with ecstatic joy. The goodly promise of a full audience was also grateful to his feelings, though his ribs suffered severely on the narrow stairs. In the room his expectations were more than fulfilled; never before did he hear a better performance. He found the familiarity of the orchestra and chorus with the work still shown in the ease with which it was delivered; while the collective nose, being constantly kept at the conductorial grindstone, was productive of the best results. He proceeded to admit the folly of the pianissimo commencement of "For unto us;" but thought that further remonstrance was useless-with both of which conclusions I cordially agree. Miss Parepa taking the soprano part, K. S., Esq. was delivered of some well-digested reflections. "Effect is not always produced by loudness of voice. Volume of t ne, if it were an eagle, might be heard from London to York, while a skylark would not be audible through a quickset hedge. The purity of voice and perfect tune, together with clear enunciation of the words, are the requisite qualifications for singing sacred music. The departed Mad. Novello was my beau idéal of a classical singer. The lady of this evening, in all the exuberance of a great voice and brilliant vocalisation, loses sight of the purity and unaffected beauty of the great Englishwoman's style. Nevertheless, her voice is very fine, and her singing remarkably clever." Without altogether endorsing his opinion, I pass on to his estimate of Mad. Sainton's style, as shown in the Messiah. "Of all composers," says he, "Handel shows most power in the pathos of simplicity. While the elaborate use of the science of harmony, and the art of instrumentation serve to point the melodic beauty of Beethoven's and Mendelssohn's most thrilling passages, there is in Handel a quiet dignity and touching expression that goes to the very heart of the audience. 'He shall feed His flock,' and 'He was despised,' may serve as examples of this. In the declamatory 'But who may abide,' we find a power and intensity that carries us back to the days of the old Hebrew prophets. Handel had not many predecessors in his art; but he looked

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well to the future; and if we say that in writing for a contralto powerful alike in declamation and pathos, he predicted the existence of Miss Dolby, we are accounting for the marvellous fitness of her capabilities in the only satisfactory manner."

Of tenors his discourse was naturally diffident and modest. "I find is generally a poor, effeminate creature. few who please by manly ways.' Your Italian tenor of the present day find men who can deliver the sentences of Judas Maccabeus in a manner Among English artists I that would set a whole nation on fire. In the present case vigour cannot be dispensed with, hence it is that we never heard a foreigner sing the tenor music of the Messiah to satisfaction. Mr. Sims Reeves, lately bereaved, is par excellence the tenor I like; his two deputies, Messrs. Cooper and Perren, are both genuine artists with good gifts. The latter pleased me, especially to-night. There is much refinement in his singing, which he shows without detracting from his manliness." And, again, who remembers to have read such writing as the following. Ponderosity and closeness of tone please me in bass singing. Mr. Weiss has a magnificent voice, which he damages at times in trying to sing too loud. A properly winded 16-foot pipe is better, i.e., more effective, than an underwinded 32. Let not this, however, apply to his singing. The trumpet shall sound,' but now," continued our friend, as supper is ready, we will leave a parting word of high praise for the incomparable Mr. Thomas Harper, and retire to our habitations, wondering for the five thousandth time at the powers and royal genius of the great Saxon, and the hold he possesses on the ears, minds, hearts, and souls of men so many scores of years after he has passed away." It was in vain for us to attempt to improve or add to these excellent remarks, so we left the great artist, not without sorrow that such a train of thought should be suddenly cut short.

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[Shoulder arms! "Shoulder."-PETIPACE.]

SHOULDER.

DEAR PETIPACE,-Many thanks for your emendations of my last. Why an elegantly written sentence, pregnant with significance, should be excised to make room for " &c., &c., &c.," I don't know; but anent the same transaction, let me quote the words of the Bolognese Adolfo, which have been excellently translated by the late Mrs. Susan Creever :—

"When success and popularity are gained the fortunate possessor is apt to be dazzled with the result of his endeavours. Others pay him reverence and admiration, and attribute to him capabilities he never possessed, which latter he himself may be induced to believe in, till, some great occasion demanding an exercise of the reputed talent, he is rapidly adjusted to his proper level by his failure. Even then there be some who will not perceive his mistake, but continue to assert the value of deeds which have, in the minds of right-thinking men, produced only disgust and repulsivity."

I am yours faithfully,

SHOULDER.

SIR,-In reference to a paragraph in Sunday's Observer stating that "an extensive system of fraud had just been discovered, which had been carried on for some time, especially in the matters of the stores of the company," I beg to state that there is no ground whatever for any such statement.

The only way in which I can account for such a misapprehension arising is from the circumstance that the directors recently found it necessary to discharge one of the superintendents in the building, in whose transactions some irregularities were found to exist; but they did not amount to 57. in money value, which has since been made good to the company, but at the same time infringements of principle were involved in the transactions which the directors felt it necessary to mark with the severest censure. I am, Sir, your obedient servant, George Grove, Secretary.

Crystal Palace, Sydenham, SE., Dec. 10.

IN RE LEEDS.

SIR,-It may be of scant moment that the prize infant, Master Tinley, or the Chippian Doctor have adorned (!) Handel's "Harmonious Blacksmith with their own variations, in place of the melodious "changes" of the mighty Saxon on his particular anvil; but is it not a curious index of the musical progress of the cloth emporium to find (after the good seed sown by Field-Marshal Bennett at the late musical

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