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DECEMBER 22, 1860]

that the mere blast of a trumpet once threw him into a state of most violent excitement, whose soul-felt passion for ideal beauty, for the abstract loveliness of sound and form, rendered him tremblingly alive to any manifestation of it, and who was so impressionable with respect to outward influences, that things unheeded by others would act upon his being like the wandering wind upon the Eolian harp-thrilling him with music-was not fit to bear the enormous amount of downright hard work and constant excitement thrown upon the earliest years of his career, and acted accordingly.

Would a really sensible man have risked the permanent value of his stock-in-trade-which in Leopold Mozart's case was a son's life-without some pressing, immediate, and personal motive? We would wish to consider Leopold Mozart as the reverse of sensible, because by so doing-in relieving him from great responsibility we should protect him from great blame; but such worldly shrewdness and diplomatic caution are exhibited in the later portion of his career that we cannot certainly set him down as a fool.

like this to obtain matter worth printing for nothing. Certainly, however low my contributions may be valued, I cannot suffer such impertinence to be again practised, which I think on the part of any one is a great familiarity. Had Mr. "Petiface" affixed my proper name, I should have been extremely disgusted, as I have not the pleasure of knowing Mr. Horace Mayhew, nor the least wish to criticise his recent performances.

You will oblige me by inserting this, as I consider by altering or adapting the occasional contributions of your supporters, is no only the way to lose their support, but that of others, to say nothing of its being an act of unprovoked familiarity. I am, Sir, your obedient Servant,

A CRUMP.

[The signature of the first communication was unintelligible. "Crumb" was the nearest guess that could be made, and the Socratic irony that distinguished the style of our correspondent warranted its acceptance as genuine. Nevertheless, Petipace-not "Petiface"-apologises to Messrs. Crump and Mayhew; although had Mr. Crump affixed his (Petipace's) proper name, he (Petipace) might have been "extremely disgusted."-ANGUISH.]

Did Leopold calculate upon the amount of mental and physical labour his son might possibly endure for so long a time as he might be serviceable to the paternal interest, without care for a future, which, according to the ordinary course of things, might probably relate to others rather than to himself? Such hypotheses are proposed quite à contre-caur, but we must take them as they A SUGGESTION FOR FACILITATING THE READING occur to us. Mr. Jahn himself suggests them by the "inexorable logic" of his facts, the real bearing of which upon Leopold's character appears to have escaped him.

In October, 1762, we find Wolfgang laid on a sick bed for fourteen days with the scarlet fever. In August, 1764, an inflammation of the throat again placed his life in jeopardy. Passing through Lille in 1765, he was equally in danger-four weeks confined to his room; and in the same year the child had one more terrible trial, namely, an attack of malignant fever, which nearly carried him off; and all this time he was being hawked about from country to country, from town to town, and made to display his genius in public as often as he was able, the sensible and amiable father profiting thereby.

To us, we must confess, all this looks doubtful, and more especially as the sister of Wolfgang, also a wunderkind, who accompanied the expeditions, and was exhibited with her brother in the concerts, suffered likewise from constant excitement; and once indeed, up the Hague in 1765, was in such imminent danger that, despite all the efforts of Professor Schunnckel, physician to the Princess Wulburg, sister of the Prince of Orange, the young artist's life was despaired of.

With Mr. Jahn's estimate of Leopold Mozart's moral worth we cannot agree; neither in the proceedings of the father with respect to his son's early career, nor in later events can we discover any of his acts untainted by selfishness.

Letters to the Editor.

VERSUS "PETIFACE." SIR,-Your periodical of the 8th instant contained a contribution of mine, as it has done many before; but you have not previously found it necessary to make additions, and to adapt my communications for what they were not intended. My object for sending you occasionally such thoughts as were suggested was not for the sake of playing the fool with an art which seems to be the principal object of one of your contributors-but for the purpose of calling attention and exciting discussion on certain points which appeared to me defective; and for the amelioration of which in all departments of science and art such journals as the present are, I presume, specially called into existence. Now, to come to the point; I am at loss to know by whose authority your eccentric and incomprehensible friend "Petiface" alters and adapts according to his peculiar whims, the contributions whose authors he knows nothing of, and who know nothing of Mr. "Petiface." My contributions are doubtless of but little value; but I should imagine that the MUSICAL WORLD found it difficult in a country

OF MUSIC.

SIR,-If printers would use red ink for the first and fifth lines, HAWK. they would greatly facilitate the execution of difficult and crowded passages.

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"In the allegros, as a rule, notwithstanding the invariable evidence of earnest thought and high musical capacity, Beethoven's genius is less He writes them frequently thoroughly at home than in the andantes. in evident compliance with the exigencies of the sonata form rather a plaintive andante, or a wildly sportive scherzo, more congenial exthan the instigation of his fancy, and appears to find in a solemn adagio, pression for the teeming visions of his mind. The first allegro of the No. 3 quartet is nevertheless a long, richly instrumented and symmetrical movement, and thanks partly to the admirable execution of the before-named gentlemen was warmly applauded. The second allegro, a short graceful movement, and the concluding presto, with its fiery tarantula measure, experienced in a minor degree the sunshine of popular favour, and the performers retreated from the platform amid a shower of plaudits."

[Chacun à son gout, est notre gout.-ANGUISH.]

DANCING-MUSIC, OR MUSIC-DANCING.
TO HORACE MAYHEW, ESQ.

GENTLEMAN,-In the MUSICAL WORLD of the 8th instant, appears an article of mine, headed "New school of Dancing Music," to which the editor has added under the title, "To the joined Authors of the Goose with the Golden Eggs;" and at the end of the article, "Yours, Gentlemen and Wits." As no such expressions were in my copy, will you oblige me by exerting your interest at head-quarters in procuring the insertion of this reply in the next number, that I may be free from the imputation of having begun or concluded the article with two such ridiculous absurdities? The plan of dancing to music of a higher class than that now in use is not by any means impracticable; but in offering something new to the public, the author has to contend with the class of narrow-minded persons who may be the arbitrators on its merits, as remarkably exemplified in the two following instances:-Haydn, on entering his career in instrumental composition, presented himself on the lists with six trios. The peculiarity of the style and the novelty of the thing gave them immediately the greatest celebrity; but the grave German musicians warmly attacked the dangerous innovations with which they were filled. The charming thoughts of the young musician,

the warmth of his style, called forth against him all the invectives of the Vienna musicians, particularly the amateurs, who would not have hesitated, had the idea crossed their minds, to have designated this new school, the Goose with the Golden Eggs. The other is an instance in the career of the engineer Stephenson, who in endeavouring to get an Act of Parliament passed through the House of Commons to enable him to lay down the first railroad he accomplished, on asserting to some of the members that he would obtain a speed of twenty miles per hour, these gentlemen (like the writer of the two witty expressions in my recent article on a new school of dancing-music), replied, "Your mind, Mr. Stephenson, is deranged through too much application to your railroad, or you would not talk of a speed of more than fourteen miles per hour." When, in order to pacify them for the time being, to avoid retarding the passing of the Bill, he deemed it prudent to say fourteen instead of twenty, when they were satisfied; otherwise, like the author of the lofty expression added to my heading, emanating (no doubt) from a mind equally as lofty as the sublimity of the two additions-the members would probably have designated Mr. Stephenson's scheme, the Goose with the Golden Eggs. The articles I have furnished to the MUSICAL WORLD were not written expressly for it, but merely copied from one hundred and fifty in prose and verse, filling three books composed by your humble servant during the last ten years; and, whatever may be their "shortcomings," as my motive is good, the editor might refrain from endeavouring to turn into ridicule, what is intended to advance one of the popular accomplishments of the day, and no doubt will be carried out at some future period, or something approaching it, when the present music will not have sufficient variety to meet the improved taste of the dancing class. Craving your excuse for troubling you with this communication, I ascribe myself, Gentleman, yours respectfully, Dec. 12th, 1860. HAYDN WILSON. VIENNA, Nov. 15, 1860.-(From our own Correspondent.)—The rehearsals of Rubenstein's opera, Les Enfantes des Landes, have been suddenly discontinued. It appears the tenor Wachtels is in litigation with the direction of the court theatre at Hesse Cassel, having failed to fulfil his engagement last year for some cause, whether sufficient or otherwise, to be decided by the lawyers. An official request has been made by the legal authorities of Prussia, that Wachtel, pendente lite, should not be allowed to sing in Vienna, which request has been acceded to by the Austrian Government, and Rubenstein's opera postponed in consequence. It is a question whether Wachtel's salary will be suspended, but I should hardly suppose the Viennese authorities will so far take part in a quarrel, in which others only are concerned. It is bad enough that they have prevented his appearing, and acted courteously to a neighbour to the detriment of an artist. Refusal of payment would be the most unjustifiable and discreditable proceeding, as evincing decided partiality in a dispute, the rights of which have yet to be determined.

MADRID.-In a recent number of the Madrid Correro there appears the following critique respecting the début of an artist who for some years held an honourable position in the Royal Italian Opera Company:- "The great novelty of the evening was Mad. de Méric Lablache, who was making her début in our theatre. Every one was anxious to see and hear the celebrated contralto, who had sung for ten consecutive seasons at the Imperial Theatre of St. Petersburg, and has been so well received in all the capitals where she has appeared. Expectation was not disappointed; and the part of Orsino was sung by Mad. de Méric in a style thoroughly worthy of an artist of her reputation. She possesses a magnificent and fresh contralto voice, an excellent method of singing, and a fine presence. She acts with consummate talent, and is, in fact, gifted with all the qualities which may be expected from an artist of her reputation. Our public saw immediately what kind of lady had to be judged, and soon pronounced in favour of the talented and comely contralto, covering her with applause both in the course of the opera and in the well-known brindisi. This last Mad. de Méric in the best style possible, giving proofs of a rare talent, and that exquisite taste which is peculiar to great singers. Mad. de Méric dresses with such gracefulness and propriety that she won for herself general approval, and she wears the male attire in a fine and very engaging manner. The reception which this artist met at the hands of the public could not be more brilliant; it was, in fact, in keeping with her merit. From this great success we areled to look forward with much pleasure to further performances,

sang

such as Arsace and others of the same kind, wherein Mad, de Méric will have an opportunity of displaying all her powers. M. Bagier, the manager, could not have secured a better artist, and we congratulate him with as much warmth as several of our contemporaries have done before us."

MAD. DE VAUCHERAN, the pianist, gave an evening concert in the new Vestry Hall, Chelsea, on Monday last, under the patronage of Lord Ranelagh and the officers of the South Middlesex Rifle Volunteers. As a matter of course the room was well attended, and a great number of the "force" were present. Among the vocalists were Miss Clari Fraser, Fraulein Von Kettler, Mr. Leonard; Herren Goffrié and Schmidt were the violins; Mr. R. Blagrove was concertina, and Herr Oberthur harp. The fair concertgiver, played several times during the evening, her best performance being Herr Oberthur's duet for harp and pianoforte, on Lucrezia Borgia, which she gave in capital style. She was ably assisted by Herr Oberthur in the harp part. The latter also played in his usual elegant manner some pieces of his own composition. Mr. R. Blagrove's solo on the concertina (airs from Lurline), was equally successful. Among the best vocal performances were those of Miss Clari Fraser in "John Anderson my Joe," and "Where the bee sucks," (both of which delighted the audience); of Fraulein Von Kettler, in an Italian cavatina, and some German lieder; and of M. Leonard, in "Largo al factotum," which he declaimed and sung with infinite spirit, obtaining well merited applause at the conclusion. Macfarren's charming trio, "The Troubadour," might have had more pains bestowed upon it than it received, the vocalists evidently not having rehearsed it. Mr. Thomas accompanied the vocal music on the pianoforte.

MISS WHITTY.-A letter from a friend in Milan, speaking of Miss Whitty, says-"La Signora Vitti, as she is called here, is a great favourite-and no little merit as a singer is required to please a Milanese audience. An engagement here is an affair not easy of attainment, and an honour greatly coveted, as, if successful, the fortune of a vocalist is made. Miss Whitty is, moreover, an excellent actress, and, although not strictly handsome, is very sweetlooking, graceful, and ladylike. In Florence she created quite a furore.-Another young country woman, Mary Beati, daughter of the late Dr. Davey of London, made her début a few weeks ago at Lugano with great success: she played thirteen or fourteen times in succession, and was on each occasion more warmly received. She has been very much spoken of in the papers, and very favourable opinions are entertained of her voice and style of singing."

DR. M. V. BLY.- Necromancy in some shape or other is one of the fashions of the day, now descending into the prosaic card-trick, now soaring into the more mysterious region of spirits and mediums (Priscian would have preferred "Media"); now boasting that it can restore a burnt pocket-handkerchief without the aid of a doublebottomed casket, now more awfully pretending to maintain an intercourse between the living and the dead. The gentleman who years ago would have been burnt for a wizard now finds the black art into so many departments, that we may in time have a numerous a very convenient source of revenue; and really this art is splitting body of conjurors, who will all thrive merrily without jostling one Dr. M. V. Bly, a newly-arrived American professor, who displays against the other. Among necromancers of the more mystical school, his wonders at the New York Hotel, Leicester Square, is likely to take a conspicuous place. Indeed, he has already puzzled many connoisseurs, accustomed to all the marvellous illusions of the last twenty years; not only does he abstain from the use of apparatus, but he even refuses the advantage of distance, the person to whom he displays his proficiency being invited to sit with him at the same table-an ordinary piece of mahogany, with its legs perfectly visible, and consequently as far above suspicion as the required reputation of Cæsar's wife. Thus brought face to face with the magician, the visitor writes with a pencil the names of a number of persons on some scraps giving Dr. Bly the least chance of seeing the inscription. The learned of paper, which he immediately crushes up into little pellets, without doctor is at once seized with a convulsive trembling of the true Pythian kind; and, frantically snatching up a pencil, writes backwards a short note, signed with one of the names contained in the pellets. He also orders his visitor to put the pellets into sealed envelopes, and picks them out by name, when repeated crumpling has rendered the inscriptions almost illegible to the writer himself. The information contained in the notes written by the doctor is not of a very exciting description; but

how he acquires knowledge of the names, hastily written as they are, and crushed up immediately-this is really a mystery, especially as the feat is performed under circumstances which seem to preclude the possibility of collusion. Indeed, the exhibition ordinarily takes place in the presence of a very select few, any one of whom is at perfect liberty to take the post of honour at the table, and test the professor to his heart's content. Sometimes an imposing variety is given to the exploit by the appearance of the name in red letters on the doctor's wrist. Details of this kind, as well as the convulsive movements of the magician, and the noises occasionally elicited from the table, will be set down by the sceptical as belonging to the hocus-pocus of the art; but how did the name get into the doctor's head? That's the real question.

MR. SIMS REEVES ACCEPTING AN ENCORE.-"Mr. Sims Reeves, who was in the fullest possession of his incomparable voice, added to his long list of artistic triumphs by his exquisitely beautiful rendering of Dussek's charming, quite Mozartian, canzonet, which elicited unanimous applause of the warmest kind. This can scarcely fail to become a stock piece at concerts. Of Mr. Sims Reeves' version of 'Adelaide,' what can we find to say that has not been said a hundred times already? Such singing as this, with the pianoforte accompaniments of Miss Arabella Goddard, is indeed an executive triumph, which we believe no other two artists in Europe could achieve. The 'Adelaide' was so overwhelmingly redemanded, that Mr. Reeves, despite his objections to the 'encore system,' obliged the audience by singing the second movement again."Morning Post.

MR. WEISS AT THE MONDAY POPULAR CONCERTS.-"To Mr. Weiss, firstly, belongs the praise of having been the first to let the public know what Mr. George Macfarren really means by the very fine song from Robin Hood' entitled, "The monk within his cell,' which we may safely assert was never sung in public before last night, however well it may have been acted. Mr. Weiss did ample justice to this admirably characteristic composition. It It suits his noble voice exactly, and he sung it with all the musical skill and dramatic expression it demands. Secondly, our famous English basso must be unreservedly eulogised for his inimitable rendering of Mendelssohn's 'I'am a roamer; but, as Mr. Weiss's version of this capital comic song is thoroughly familiar to the musical world, we need only record that it was heartily encored, although the singer merely returned to the orchestra and bowed his acknowledgments of the compliment."-Morning Post.

MISS ARABELLA GODDARD AT THE MONDAY POPULAR CONCERTS. "To those who are curious to know how our eminent English pianist, Miss Arabella Goddard, acquitted herself-who would learn whether she has been progressing backwards or forwards since last she appeared in a London orchestra-we can say at once that the young lady never achieved a greater triumph, or more richly deserved the homage of musicians. The symmetry, chasteness, and dignity of Miss Arabella's style, her full, sympathetic tone, and solidly brilliant agility, might doubtless have been more profitably employed than in the execution either of Steibelt's or Haydn's sonate (the latter of which, by the way, is but an arrangement of one of the author's string quartets), though both these works are highly interesting, and far too good for oblivion. Miss Arabella Goddard might have selected a solo sonata by Beethoven-for instance, the long 106, which she plays better than any one. The audience, we feel convinced, would have been delighted to hear it again from her, if only because no other pianist ever attempts it. However, the accomplished artist, if she did not show all she can do on this occasion, at least vindicated her claim to the laurel crown that graced even her baby-brow, and which she has worn unblemished for many years in spite of rivalry by no means despicable. Miss Arabella Goddard was most enthusiastically received, warmly applauded on every possible occasion, and unanimously recalled into the orchestra at the termination of Steibelt's sonata, which she played to perfection."-Morning Post, Dec. 17th.

DR. WYLDE gave his annual Christmas performance of the Messiah in St. James's Hall, on Thursday evening, before a large audience. The Messiah is more attractive at Christmas than at any other time, since many look upon it as a duty to attend a performance of Handel's sublime oratorio at this season of the year. The soloists were Miss Parepa, Miss Spiller, Miss Lascelles, Mr. G. Perren and Mr. Santley. Miss Parepa sung her very best, and

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Miss Spiller, who shared with her the soprano music, acquitted herself exceedingly well. Miss Lascelles was most effective in "He was despised." Mr. G. Perren sang the tenor music very artistically, and Mr. Santley's fine voice and admirable delivery were highly appreciated in that allotted to the bass. The chorus was not quite so steady, in many pieces, as we could have wished, though Dr. Wylde conducted with his accustomed vigour and ability.

SPOHR AND THE VIOLIN.-Of Spohr's distinguished merits as a composer of quartets, enough has been said in the analytical programmes of the Monday Popular Concerts. The reproduction of been in the habit of attending these performances, the opinion a few sentences will suffice to explain, to such as have not hitherto entertained of the late Kapellmeister of Hesse-Cassel as a fertile and ingenious producer in this particular branch of his art. As a chamber music,-for stringed instruments, Spohr eminently excomposer of quartets-it was urged-and indeed of all varieties of celled. Only Hadyn, Mozart, Beethoven, and Mendelssohn can duced in this department almost as much as the last three in combe said to have surpassed him; while, on the other hand, he proand none will refuse to admit that, as a writer for the violin, Spohr mon. Here, however, his darling instrument was at command, was unrivalled. No predecessor or contemporary has done so much or so well for the first of orchestral, as it is the first of solo, instruments. His compositions for the violin (as a performer on which, in many respects, he equally transcended all competitors) form one of the most important and valuable bequests that genius has made to art. He represented, moreover, and pre-eminently, the great German school of playing, the most solid, legitimate, and classically pure, if not the most graceful, impetuous, and brilliant. "All the composers for the violin put together, since legitimate music was provided for that instrument, would not," says a modern critic, "make one Spohr." This was the domain in which he knew no rival, and in which, whether as producer or executant, he distanced all competitors. Spohr was the rock against which the so-called virtuosity of his time could make no head. In an age of semi-charlatanism he retained for his darling instrument its classic character, and dedicated works to the fiddle which are likely to survive while music continues to be cultivated. Violinists, indeed, of every category, those alike who aim at mere display and those who entertain a worthier ambition, are infinitely his debtors; since, through the method he inculcated, and the style, but, more than any predecessor or contemporary, helped to writings he published, he not only regulated taste and developed advance the mechanism of the instrument, and thus to multiply its resources and vary its means of effect. His quartets (of which he produced about three times as many as Mozart, and twice as many as Beethoven), his quintets, and other examples of what is termed chamber music, form a library of themselves.-Programme of the Monday Popular Concerts.

FOOD FOR BABES.-(In Words of not more than Two Syllables.) -Once up-on a time, a hawk had a num-ber of lin-nets in a tree, who sang so sweet-ly that the pas-sers by gave the hawk bits of meat. But the pas-sers by did not want to hear all the lin-nets at once. So the hawk sent some of them a-way from the tree, which stood in a large Mark-et for Hay, to a gut-ter near Der-by Round, that o-ther pas-sers by might give bits of meat to hear them. But when the lin-nets came back to the Mar-ket for Hay, the passers by (who were call-ed swells) would not hear the lin-nets who had been sing-ing in the gut-ter. So all the lin-nets flew a-way, and the hawk had to go with-out his meat.-SHOULDER.

STAINES.-On Thursday evening, December 6th, a concert was given in the Literary Institution. The artists were Miss Eleonora Wilkinson, Miss Louise Jarrett, Mr. Dyson, and Mr. Lambert; Mr. W. Goss Custard presided at the pianoforte. The programme was miscellaneous. The inclemency of the weather prevented many families from attending.

ROYAL ACADEMY OF MUSIC.-The nomination for the two King's scholarships vacant at this time of the year took place on Monday the 17th inst. The board of examiners consisted of Mr. Charles Lucas (chairman), Mr. John Goss, Mr. Henry Blagrove, Mr. G. A. Macfarren, Mr. W. H. Holmes, Mr. Frank R. Cox, and Mr. Walter C. Macfarren. The number of candidates examined was

812

Notice.

[DECEMBER 22, 1860

25-nine young gentlemen and 16 young ladies. The following were elected scholars :-Miss A. Zimmermann and Master John THE MUSICAL WORLD may be obtained direct from the Office, Still. The following candidates were specially commended:-Miss L. Bayley, Miss R. A. Brinsmead, Miss Kinkel, Miss E. Peachey, and Miss E. G. Stevens; Messrs. F. J. Amor, B. Mallatratt, and S. Weeks. The following were commended:-Miss H. Milton, Miss E. P. Sellman, and Miss S. J. Thomson; Master C. H. Deffell.

Advertisements.

ST. JAMES'S HALL,

(REGENT STREET AND PICCADILLY.)

MONDAY POPULAR CONCERTS.

THE SEVENTH CONCERT OF THE THIRD SEASON

WILL TAKE PLACE

ON MONDAY EVENING, JANUARY
On which occasion the celebrated Violinist,
M. VIEUXTEMPS

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28 Holles Street, by quarterly subscription of Five Shillings, payADVERTISEMENTS are received until Three o'clock on Friday Afterable in advance; or by order of any Newsvendor. noon, and must be paid for when delivered. Three lines (about 30 words)

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The Musical World.

2s. 6d. 6d.

LONDON: SATURDAY, DECEMBER 22, 1860.

WE

E have much pleasure in directing the attention of our readers to the following:

MR. HULLAH.-A strong desire has been manifested, in various influential quarters, to render some service and encouragement 14, 1861, to Mr. Hullah, late of St. Martin's Hall, at a very trying period of his life. With the view of consolidating this general feeling of goodwill towards a gentleman who has faithfully devoted many years and many acquirements and energies to an important branch of public education, and whose labours have now to be begun again, the following Committee has been formed:

(Who has been expressly engaged for these Concerts), Will make his First Appearance in London, after an absence of Eight Years.

PROGRAMME.

PART I.Quartet, in D minor, for Two Violins, Viola, and Violoncello-first time at the Monday Popular Concerts-(Schubert), M. VIEUXTEMPS, Herr RIES, M. SCHREURS, and Signor FIATTI. Song (Benedict), Miss LASCELLES. Song (G. A. Macfarren), Miss AUGUSTA THOMSON. Prelude and Fugue, à la Tarantella, in A minor -first time at the Monday Popular Concerts-(J. S. Bach), Miss ARABELLA GOD

DARD.

PART II.-Sonata, in C minor, for Miss ARABELLA GODDARD, Pianoforte, and M. VIEUXTEMPS, Violín-first time at the Monday Popular Concerts-(Beethoven). Song (Henry Smart), Miss LASCELLES. Canzonet (Dussek), Miss AUGUSTA THOMSON. Quartet, in E major, No. 59, for two Violins, Viola, and Violoncello (Haydn)-first time at the Monday Popular Concerts-M. VIEUXTEMPS, Herr RIES, M. SCHREURS, and Signor PIATTI.

Conductor-MR. BENEDICT. To commence at Eight o'Clock precisely.
Stalls, 5s.; balcony, 3s. ; unreserved seats, ls.

Tickets to be had of Mr. Austin, at the Hall, 28 Piccadilly; Messrs. Cramer and Co., Hammond, Addison and Co., Schott and Co., Ewer and Co., Simpson, and Oetzmann and Co., Regent Street; Bradberry's, London Crystal Palace, Oxford Street; Duff and Co., C5 Oxford Street; Prowse, Hanway Street; Chidley, 195 High Hol born; Purday, 50 St. Paul's Church Yard; Keith, Prowse, and Co., 48 Cheapside, Turner, 19 Cornhill; Cook and Co., 6 Finsbury Place, South; Humfress, 4 Old Church Street, Paddington Green; Fabian, Circus Road, St. John's Wood; Ransford and Son, 2 Princes Street, Cavendish Square; Ivory, 275 Euston Road: Mitchell, Leader and Co., Ollivier, Campbell, Hopwood and Crewe, and Willis, Bond Street, And CHAPPELL and Co., 50, New Bond Street.

To Correspondents.

A correspondent will be glad if the editor of the MUSICAL
WORLD will answer the following questions in his notice to cor-
respondents, also the same questions with respect to Signor
Giuglini:-

What is the age of Mlle. Titiens ?
Where is she living?

What place is she a native of?

Has she any relations living with her?
What is her private character?

What is her Christian name?

Of what religion is she?

How long has she been on the stage?

Is there any talk of her being married?
Correspondent's initials, E. M. E.

December 1st, 1860.

MUSICAS.-Petipace is on a journey. Call him louder.

Charles Dickens, Esq., Gadshill, near Rochester, Kent, Chairman. The Most Noble the Marquis of Lansdowne, Bowood, Wilts; the Right Hon. Sir J. T. Coleridge, Knt., Heath's Court, Ottery St. Mary, Devon; Sir James P. Kay Shuttleworth, Bart., 38 Gloucester Square, Hyde Park, W.; the Very Rev. R. C. Trench, D.D., Dean of Westminster, Dean's Yard, S.W.; A. W. Blomfield, Esq., 8 St. Martin's Place, W.C.; W. Butterfield, Esq., 4 Adam Street, Adelphi, W.C.; the Rev. Samuel Clark, the College, Battersea, S.W.; Harry Chester, Esq., 63 Rutland Gate, S.W.; J. D. Coleridge, Esq., 3 King's Bench Walk, Temple, E.C.; the Rev. Derwent Coleridge, St. Mark's College, Chelsea, S.W.; the Rev. R. Elwyn, Charterhouse, E.C.; Edward Foster, Esq, 220 Marylebone Road, N.W.; Edward J. Fraser, Esq., 26 Craven Street, Charing Cross, W.C.; James Humphry, Esq., 49 Hilldrop Crescent, Holloway, N.; H. C. Hextall, Esq., 145 Cheapside, E.C.; T. H. HeadPlumptre, Kings College, W.C.; Geo. T. Porter, Esq.. 4 Victoria Street, land, Esq., 9 Heathcote Street, Mecklenburgh Square, W.C.; the Rev. H. W. Phillott, Staunton-on-Wye, Herefordshire; the Rev. E. H. Square, S. W.; H. Wedgwood, Esq., 6 Queen Anne Street, W. Westminster, S.W.; Geo. Richmond, Esq., 10 York Street, Portman

Subscriptions will be received on behalf of the Committee by any Member of the Committee, or by Messrs. COUTTS and Co., Strand, or Messrs. GLYN and Co., Lombard Street, London. mittee are already enabled to announce the following:— The Com

The Marquis of Lansdowne 100l.; the Right Hon., W. E. Gladstone, Bart., 501.; A. Hobhouse, Esq., 501; G. Richmond, Esq., 251.; S. Pitts, M.P., Chancellor of the Exchequer, 50l.; Sir J. P. Kay Shuttleworth, Esq., 10.; C. Dickens, Esq., 10l.; E. C. Tufnell, Esq., 5l.; Rev. E. H. Plumptre 51.; E. Foster, Esq., 100l.; H. Wedgwood, Esq., 254; E. Raphael, Esq., 51.; Harry Chester, Esq., 217.; Rev. F. D. Maurice 104; H. C. Hextall, Esq., 504; W. Butterfield, Esq., 25l.; T. H. Farrar, Esq., 10.; J. Humphry, Esq., 204.; E. J. Fraser, Esq., 204.; E. B. Denison, Esq., Q.C., 10l.; A. W. Blomfield, Esq., 51.; Rev. D. Coleridge, 10.; Rev. T. Helmore 51; Mrs. Carr 5.; Rev. S. Clark 102; Rev. Muirhead Mitchell 25l.; C. Wentworth Dilke, Esq., 10l.; Rev. Thos. Astley Cock, King's College, London, 204; S. Servante, Esq., 51. E. J. Fraser, Hon. Sec., 26, Craven Street, Charing Cross.

Mr. Hullah's claims need no advocacy. They speak for themselves. We understand that in addition to the subscription two grand concerts (morning and evening) are

J. T., BRIGHTON.—If our correspondent will forward a description of his being organised for his benefit. No professor of whatever implement we shall be happy to insert it.

DISAPPOINTMENT. -The compositions are nowhere to be found. It is possible they may have been mislaid, possibly they may never have come to hand. In either case our correspondent night, without much trouble, forward other copies to the office of THE MUSICAL WORLD.

MR. T. DYSON will receive early attention.

eminence will withhold his services on such an occasion. shall be published. Meanwhile our columns are open to any As soon as we are acquainted with further particulars they suggestion that may help the cause.

HE last of the Monday Popular Concerts was interesting, duction of a name which has hitherto been somewhat unaccountably ignored. Steibelt may be neither a Dussek nor a Hummel, but his merits are too solid not to be taken into account by directors of entertainments such as these; a principal object of which, if we are not mistaken, is to explore the whole field of art-culture, from the Bach-ScarlattiHandel period until now. To trace further back would involve the consideration of a still more various, comprehensive, and extended plan; but in attempting thus much the Monday Popular Concerts are already affording valuable aid to the progress of musical taste, and thus fully establish their claim to be viewed in the light of a bonâ fide art institution. This necessarily assumed and unanimously recognised importance, however, brings with it certain inevitable duties. To accomplish with entire success their cheerfully accepted and highly honourable task, it is manifestly insufficient to parade a catalogue of the most eminently celebrated names. A prominent feature of their mission is unquestionably that of revivals. Dead giants must temporarily make room even for living dwarfs. The world has only one conglomerate ear, and cannot listen to all at once. But when the dwarfs have strutted and the asses brayed for an hour, the world, if directed by skilful and conscientious pioneers, will once more readily give attentive audience to the lions and colossi. Round about these last, moreover, are grouped a number of healthy, strong and genuine workers, who, if they achieved less than the others, are not the less worthy to revolve in their direct vicinity, as satellites and planets. There can be only one sun to a system; but the light derived from its solitary magnificence is reflected by the lesser stars, the more brightly as they approach nearer to the self-luminous centre of their different orbits. But, to quit the celestial spheres, into which we have soared unwittingly, and redescend to

Miss Goddard, the more immediately appropriate, inasby Steibelt, to which allusion has been made. We subjoin an extract:

"The concert of last night drew the most crowded audience of the season; the great attractions evidently being the first appearance of Miss Arabella Goddard and Mr. Sims Reeves. Our fair pianist has been absent from town for a considerable time, engaged, as we learn from the provincial papers, on a very successful tour in the west of England. She received an enthusiastic welcome. Her first performance was Steibelt's sonata in E flat for the pianoforte solo, dedicated to Madame Bonaparte; a chef-d'œuvre of one of those great composers of the eighteenth century whose admirable works for the pianoforte Miss Goddard has done so much to revive. She has made the long-forgotten name of Dussek once more a household word familiar in the mouths of the English public, and is now apparently going to do the same thing for the name of Steibelt, by showing us that he, too, is a great master, whose works have been allowed to fall into unmerited neglect. From this sonata in E flat Steibelt may be said to belong to the school of Mozart; but his music shows individuality of character, a brilliant imagination, and much grace and delicacy. His cantabile phrases are charmingly melodious, and his bravura passages are sufficient to tax the powers of the most accomplished pianists even of the present day. Miss Goddard's playing of this sonata was absolute perfection. We could not even imagine a more exquisite combination of tone, execution, and expression."

There is still another sonata from the same pen, and in the same key (E flat), to which Miss Goddard's attention might advantageously be directed. We mean the sonata, Op. 60, inscribed to the Duchess of Courlande, an eminent dilettante performer in her day, -a "virtuosa," indeed, of the first rank-who received instructions in Paris from Dussek as well as from Steibelt, and to whom Dussek, as well as Steibelt, dedicated one of his most remarkable compositions. LAMORAKE.

earth;-such labourers on the fertile soil of art as DanielXPERIENCE is the best of all instructors. There can

Steibelt, &c., must not be passed over in a scheme like that of the Monday Popular Concerts. In presenting his patrons (the "great public") with so fair a specimen of Steibelt's genius as the sonata in E flat, dedicated to Mad. Bonaparte, Mr. S. Arthur Chappell, the active, zealous, and really enterprising manager, has done nor less nor more than see his way clearly though the carrying out of a principle professed at the outset, and to the credit of those concerned, be it said-adhered to with immovable pertinacity up to the present moment. Whatever shades of opinion might have existed in reference to the precise value of this particular sonata-as a plastic whole, as an artistic structure, or simply as an exhibition of individual acquirement,-its thorough adaptability to the place accorded it on Monday could hardly otherwise than, by common consent, be admitted. The appearance of Steibelt, therefore, at the forty-seventh of the Monday Popular Concerts was hailed with satisfaction, as the opening of a new vein of interest; and gracefully as the hitherto forgotten master was introduced, through the medium of Miss Arabella Goddard-in whose agile and expressive fingers lives an unfailing eloquence with which mere verbal arguments cannot compare his success was triumphant. Miss Goddard's remarkable talent, notwithstanding the youthfulness of its possessor, has for years been the lamp to light earnest seekers after the beautiful to those treasures of the past which have so long; lain hidden and neglected, and into which, with the co-operation of rare genius and kindling enthusiasm, she breathes new life. In an admirable notice of the last of the Monday Popular Concerts, the musical critic of the Daily News pays a warm tribute to

be no mistake about the lessons she teaches. He that will not learn what knowledge inculcates is either wilfully blind, or is unable to better his condition. It is to be hoped that Mr. E. T. Smith has been taught wisdom from the past season at Her Majesty's Theatre. Enterprise and energy do not always command the success they merit, and speculation, for the most part, is a mere hazard of the die. The new manager of the great opera in the Haymarket is a bold thrower as well as a shrewd and liberal director. His shrewdness and enterprise led to the establishment and ultimate success of a second national opera; but his love of playing at chances with the fickle goddess spoiled what promised to turn out one of the most lucrative of modern theatrical undertakings. Who doubts that, had Mr. Smith abided by the English performances alone at Her Majesty's Theatre, he would have filled the coffers of his treasury? Can anybody call to mind on the boards of any Opera whatsoever, foreign or native, a more legitimate success than that of Robin Hood at Her Majesty's Theatre? Could any one have anticipated a failure, under any circumstances, for Mlle. Titiens and Signor Giuglini? It is but justice to these great singers to say that their want of success was entirely irrespective of artistic considerations. The public who support the Italian Opera were out of town; and the music-loving section of the public who remained, not caring for Italian music, were uninfluenced by reduction of prices. Moreover the attractions of the new English company were almost unprecedented. Mr. Sims Reeves' return to the stage after several years' secession would alone have created the most powerful excitement. Then there was the first appearance on the boards-in England, at all events-of Mad. Lemmens

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