pervade all intelligent classes of the community. It has rarely happened that any single individual has rendered greater services to national culture in the highest sense of the words, to social refinement, and to popular taste, than Mr. Hullah; and it is but fitting that efforts so honourable to himself and so beneficial to the country should call forth a grateful recognition at the time when that recognition will be most prized because it is most urgently wanted.

We doubt if there be any one feature in our present English life by which a cultivated Englishman who returns from the colonies after an unbroken absence of five-and-twenty or thirty years is so much struck as by the increased diffusion of musical science, and the highest standard of musical taste now observable throughout the country. And what an infinite accession to human happiness does this change imply? In the hard work-a-day life of this our toiling and moiling England, where the press is so hot and the strife so keen, and the struggle so intense, it is no light matter that the genial and soothing influences of music should be still more and more invoked as a refreshment and a blessing, and a balm to the jaded spirit. It is quite true that the most exquisitely refined musical taste affords no criterion of the moral progress amongst the people where it is found. Those unhappy Neapolitans, whose whole political life seems one crashing discord, are to this hour conspicuous amongst all Italians, indeed amongst all' mankind, by their sure appreciation, and singular relish, and unrivalled command, of all the graces and powers of vocal and instrumental harmony. It is equally true that many of the greatest and wisest benefactors of our species, even those gifted with lofty and imaginative genius, have been as insensible to the charms of music as was Sir Walter Scott, or have shared the contemptuous opinion of Doctor Johnson, that it was "as good as any other kind of noise." But it is not less certain that the general spread of musical tastes in our own country corresponded with our most brilliant epochs of political and literary greatness. It was not merely when England was "merry England, in the golden days of good Queen Bess," that high and low, rich and poor, the noble and the peasant, found in music a solace from the pressure of toil and care. The reader of Mrs. Hutchinson's delightful memoirs finds in them abundant proofs that the severe standard of Puritan manners nevor for an instant attempted to banish the enjoyments in which a Milton found his chief delight. But the art which was a favourite pleasure in the social life of the sixteenth or seventeenth has become almost an indispensable necessity in that of the nineteenth .century. There has always appeared a profound significance in the fact that Shakspere, in the very drama, The Merchant of Venice, in which he has exhibited the most startling vicissitudes of commercial life, and the sordid and selfish passions by which that life is marred, as well as the more fatal antipathies of hostile race3 and creeds, should have lost no opportunity of exalting and glorifying the power of music, as if to illustrate its peculiar virtues in soothing the mind when agitated and torn either by pecuniary losses or by religious strife. The eloquent condemnation passed on and the stern warning directed against him who is not "moved with concord of sweet sounds," reminds one of the passage in which the most eloquent of ancient sages, when, picturing his ideal commonwealth, denounced the foe of science and of art, and doomed him to be driven forth to herd with the Centaurs and the Cyclops, just because true harmony was a stranger to his breast.

The Englishman who has laboured earnestly, unweariedly, and most successfully to make the "concord of sweet

sounds" a cheaply and generally attainable delight has seen all his fortune vanish, swept away in a moment by an unforeseen calamity, in the midst of his professional career. The appeal addressed to the public on his behalf by some of our first statesmen and writers; by men who, having themselves long laboured in the cause of national education, are eminently qualified to judge of the extent of Mr. Hullah's services, will, we cannot doubt, meet with a hearty and practical response wherever it becomes known. The gentleman who is its object has been emphatically a national benefactor. Let all praise and honour be accorded to the man who, in whatever rank or class, performs his part in the hard drudgery of life manfully and bravely, whether to the artisan who toils at the loom, or to the statesman planning measures for his country's welfare in the silence of the Cabinet; but let it at the same time be remembered that he has scarcely less claims on the gratitude of his country whose efforts are still strenously directed to charm away the lassitude which artisan and statesman alike experience from their various toil.

The Christmas Entertainments.—The good old pantomime is more than ever in the ascendant. A few seasons since his territory was fiercely invaded by that rampant Knight of the Spangles, Sir Burlesque, who not contented with his almost unlimited dominion at Easter-tide, would fain have encroached upon the Christmas holidays, and have driven away from their ancient pride of place Clown, Pantaloon, Harlequin, and the whole troop of motley that had for centuries monopolised the amusements of holy-time. Shining wit and brilliant writing, nevertheless, were found to bave no chance with honest nonsense and downright absurdity in their heyday. Christmas is the veritable period of Misrule and Merriment, and freedom of speech is the best proof of universal trust and satisfaction. Let it once be granted that folks speak without thinking, and it follows that offence is impossible, and jollity transcendant. Burlesque, extravaganza, and fairy pieces made a tremendous onslaught on the harlequinade army for a lus re or so; but the magic wand of the chequered hero was too powerful, and the cry of "Hot Codlins" proved a war-blast that scattered the enemy to the winds. It is a fact—to descend from our camel—that in the Christmas amusements of the London theatres some few years since, the pantomime proved the exception, not the rule. In the present year, on the other hand, at every theatre in the metropolis, except one or two, the ancient entertainment is given—much matter for congratulation, we take it, to the children and elders of the present day.

Her Majesty's Theatre.—This theatre commenced its Christmas festivities with an English version of M. Victor Masse's Heine Topaze, of which we cannot speak in the highest terms, although the music is graceful and refined, and the performance was altogether good, the singing of Miss Parepa, Mr. Swift, and Mr. Santley being unexceptionable. Ou some future occasion we may refer more at large to the opera. Just now our business is with the pantomime, which is founded upon the old English story of Tom Thumb, and is entitled Harlequin and Tom Thumb; or, Merlin the Magician, and the Oood Fairies of the Court of King Arthur. The miniature hero, personated by Miss Lilia Iloss, goes through all the traditionary adventures, is Drought out of a magic album, shaken up in a bag of cherry stones, tied up in a batter pudding, swallowed by a red cow, engulphed by the giant Hurfothrumbo, devoured by a salmon, and finally brought before King Arthur, by whom he is knighted. Here the good fairy interposes, and he is transformed into Harlequin, whilst the rest of the characters undergo the usual metamorphosis. The celebrated Lauri Family support the humours of the harlequinade, and the ballet and the choral departments figure conspicuously in the opening. Mr. William Beverley has invented some most effective scenic contrivances for the embellishment of the opening; and Mr. Tully, by original music, hns given Borne striking features to the vocal illustrations; the masks and characteristic costumes are by Uykwynkyn. The pantomime of Tom Thumb is one of the most striking and interesting which has been exhibited in London for many years. Indeed, in one respect it is unique. No one living has beheld so diminutive a specimen of the human race exhibited on the stage as Miss Lilia Ross. In her way she is really incomparable, and whether she points a witticism, makes a speech, or indulges in a bit of fun, her shrewdness and perception are remarkable. That Miss Lilia Ross will prove the great attraction of the pantomime season we have scarcely a doubt. The Lauri family undertake the principal personages in the harlequinade, Miss Jenny Lauri being Columbine, Mr. J. Lauri, Harlequin, Mr. C. Lauri, Clown, and Mr. H. Lauri, Pantaloon. The " Sprites" are represented by " the celebrated Arabs," the "Kosewatcr Lake and the Romantic Haunt of the Fairies" is an exquisite "bit of .Beverley." The transformation scene, "The Chameleon Temple of the Fairies," is one of the grandest and most magnificent tableau we ever beheld in pantomime. The excitement following the scene was immense, and a loud cry being raised for Mr. E. T. Smith, he stepped forward incontinently, and was saluted with hearty cheers from all parts of the house.

Royal English Opera.—The Marriage of Georgette opened the ball on Boxing night, Mr. Dalle's opera, Bianca, being found too long until the pantomime has been properly worked into trim and shortened by expertness in the performance. The pantomime, entitled Bluebeard; or, Harlequin and Freedom in her Island Home, is by that capital writer Mr. J. V. Bridgeman, who has sustained the Christmas reputation of the Royal English Opera any day these three years. Briefly to describe the plot, let us say Bluebeard is in company with a certain King Despotino, and attended by the Demon of Remorse. Britannia is, of course, our own genius, whose mission is to foster the boldest efforts of Freedom everywhere and for everybody in the world; and the way in which she aids Freedom to overthrow King Despotino, by assuring her that she (Freedom) has her (Britannia's) "best wishes," is a sentiment calculated to reach to the depths of British patriotism. The moral of Bluebeurd, as propounded by Mr. Bridgenian, is pointed point-blank at his Sicilian Majesty s head, and hits him remorselessly hard. Of the scenery throughout, it is not possible to speak too highly; it is worthy of the artists (Messrs. Grieve and Telbin), whose old renown is associated with the so-called palmy of days pantomime. The dark scene which precedes the "transformation scene * is a design full of poetry. It represents a wreckstrewn seashore, on which there is a lightless lighthouse, giving a look of desolation to the view. The transformation scene is one of the most beautiful scenes of the kind ever seen, and has a charm wanting in such scenic displays, being beautifully harmonious in colour and graceful in arrangement of form. The harlequinade has the merit of being carried on by a double set of clowns, &c., among whom are several favourites, as Harry Boleno, M. Milano, W. A. Barnes. The fact most noticeable in this performance was the occurrence of an accident which, for a moment, threw the audience into a state of alarm. A mass of scenery fell forward with a crash, overthrowing a number of persons who were upon the stage. Mr. Harrison, however, came forward to announce that no one was hurt, and after a few minutes the business went on.

Drurylane.—This theatre commenced its winter season in earnest with a grand comic Christmas pantomime entitled Peter Wilkins; or, Harlequin and the Flying Women of the Loadstone Island. The introductory matter is as usual by Mr. E. L. Blanchaid, and it is not his fault that the rambling Cornish miner does not afford so many opportunities for comic effects as Tom Thumb, Jack and the Bean Stalk, Little Jack Horner, &c. Nevertheless he is fortunate in being able to illustrate it with some of the most gorgeous and artistic 6cenery and decorations ever devised by the inventive genius of Mr. W. Beverley. "Elfin Land in the Crystal Sphere," a magnificent Turneresque scene, filled by elves, fairly bedight in gold tissue, was the firrt great hit of the evening, and one of the most successful efforts of Mr. W. Beverley, who was summoned to the footlights to receive the enthusiastic congratulations of the audience. The "transformation scene," however, completely eclipses the "Elfin Land," and in many particulars surpasses any similar effort of stage decorative structure which we have hitherto

seen. It represents^ "great gathering of the'.Winijed Wotnen'at the trysting place by the spreading Banian Tree," with beautifully winged glumms and gwaries descending through the air, in glittering array, in a grand scene of fairyland, illumined by rays of light of varied hues. Here, again, the audience were so taken by storm that Mr. Win. Beverley was again vociferously called for, and overwhelmed with a perfect hurricane of plaudits. With the harlequinade which followed we must deal briefly. According to custom at this theatre, we were treated to a double pantomime company :—Harlequins, Messrs. Cormack and St. Maine; Columbines, the Misses Gunniss; Clowns, Messrs. Huline and R. Power; besides "a little one" by young Huline; Pantaloons, Messrs. II. Nay lor and R. H. Martin; the Sprites by the celebrated Lavater Lee family. Amongst the allusions to passing events introduced, was a transformation from a gin-palace to a handsome wine rooms — wine at two-pence a glass being substituted for gin at five-pence a quartern. The house was crowded in every part from the very opening of the doors.

Haymarket.—The entertainments commenced with Goldsmith's comedy She Stoops to Conquer, and was followed by the new entomological and fairy Christmas pantomime, Queen Ladybird and her Children; or, Harlequin and a House on Fire, "produced with novel effects of fire and real water, never before attempted in any theatre." If this pantomime is to have a run, it must be both curtailed and re-worked. One great feature in it was a " mufl dance " in Kensington Gardens, excellently and gracefully danced. As to the "fire and water," there was none of the former, and we have seen the latter better disposed on former occasions; but the combinations of glass in the scenery were superb.

Princess's.—The pantomime at this theatre, written by Mr. H. J. Byron, is entitled Bobinson Crusoe; or, Harlequin Friday and the King of the Caribee Islands. The transformation scene intended for this occasion (in consequence of some accident occurring to the machinery) was substituted by one that had appeared some years since. We here become acquainted with Harlequin (Mr. Smith), Columbine (Miss Caroline Adams), Pantaloon (Mr. Paulo), and Clown (Mr. Forrest). The scenery is by Mr. W. Telbin, Messrs. Neville, Buck, Fenoulhet, Brown, and J. Gates, and does them infinite credit. The pantomime was produced undur the direction of Mr. T. H. Higgie.

Olympic.—Working on the old materials of Timour the Tartar, Messrs. Oxenford and Shirley Brooks have produced a most admirably written extravaganza. If the general public had been more fully acquainted with the original melodrama, the merits of the present travesty might havebeen more adequately appreciated. The extravaganza is very brilliantly mounted, and very well acted. Sir. Robson idealised the Tartar into the presentation of one of the most peremptory and vocal of tyrants, and Miss Louise Keelev sang several parody songs very nicely. Picturesque groupings and lively dances were interspersed, at fitting intervals, during the performance ; and the closing 6cene, showing the " Fairy weddingcake," properly magnified and illuminated with coloured fires, deserves commemoration. This closing scene is brilliant enough to form an attraction by itself; and the extravaganza generally will probably become a public favourite.

St. James's.—The pantomime, by Mr. W. Broiwh, is entitled The Loves of Diana and Eiulymion; or, the Naughty Boy who Cried for the Moon.

Adelphi.Blue Beard Begarded from a New Point of Hue is the name of the Christmas offering of this house, and is from the ready pen of Mr. J. H. Byron.

Lyceum.—Mad. Celeste presents her patrons with a Christmas extravaganza, written by Mr. Edmund Falconer, called Chrystabelle; or, a Rose without a Thorn.

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ASHDOWN and PARRY (successors to Wessel and Co.), I beg to inform the profession that they forward Parcels on Sale upon receipt of references in town. Returns to be made at Midsummer and Christmas.

London : 18 Hanover Square.



FORTE ;and DANCE MUSIC, by the most celebrated Composers.
N.B.-The Dance Music is all illustrated in Colours by BRANDARD and PACKER.

'Twas He my only Thought, from Bianca.
Gold Rules the World, from Bianca o
What Sunshine Bright, from Bianca.
The Marriage of Georgette.
The Skipper and his Boy.
Come into the Garden Maud.
Santa Maria, from Dinorah.
The Shadow Air, from Dinorah.
The Power of Love. from Satanella.
Thou art so Near, (Reichardt).

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BILLET (ALEXANDRE). “ Lucia de Lammermoor” . 6 Les Huguenots” . . . . . . . . “ La Traviata " . .

BRISSAC (JULES). “ Rigoletto” (transcription of the Quartet)

BRUNNER (C. T.) “ Martha " . . . . . . . .

CUNIO (ANGELO). * La Sonnambula"

.: LEFEBURE (WELY), “ Hommage à Sa Majesto Napoleon III.” (caprice

militaire) . . . . . . . . . “ Le retour de l'armee ” (Marche triomphale) . .

LOUIS (N.) 66 Fleurs Venitiennes,” Trois mélodies Italiennes varicés. No. 1 in G. 2 in C. 3 in B flat (each) . . . .

MAYER (CHARLES). " The Royal Saxe-Coburg March” . . . .

- ROUBIER (HENRI). « Le depart du Zouave.” (Grand Quadrille militaire)

RUMMEL (J.) * La Favorita” . . . . . . . . “I Lombardi ” . . . . . . .

SCHLOESSER (ADOLPHE). “ Don Juan” (Grand Duo) . . . . . . " Terpsichore” (Duo de Salon) . . . . .

WAGNER (R.) March from Tannhauser, arranged by Theodore

Mauss . . . . . . . . . .

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Blanca, Fantaisie Brillante.
Bianca, Galop de Bravura.
Dinorah, Fantaisie de Concert.
Dinorah, Fantaisie Brillante.
Satanella, Valse de Concert.
Satanella, Fantaisie Brillante.
Zampa, Fantaisie Brillante.
Domino Noir, Fantaisie Brillante.
Robert le Diable, Fantaisie Brillante.
Rigoletto, Fantaisie Brillante.
Schubert's Ave Maria.
Schubert's Serenade.

Toujours Gai, Galop Brillant.
Les cloches du Village
Thou art so Near (Reichardt).
Dinorah, Illustration.
Les Vepres Siciliennes, ditto.
Uy Ballo in Maschera, (Nocturne).

Merrily over the Snow (Schloesser).
De Corsaire Galop Brillant.
Nourmahal, (Nocturne).

EMILE BERGER. Notre Dame Romance, Illustrated. Campanella Mazurka. Fantaisie on Balfe's Blanca. Selection from Bianca, Illustrated. Selection from Satanella, ditto. Selection from Dinorah, ditto. Selection from Martha, dịtto.

MADAME OURY. Bianca Fantaisie Brillante. Santa Lucia. Auld Robin Gray. Souvenirs d'Ecosse. Fantaisie on Jacobite Airg.

BENEDICT. Albion, Fantaisie on English Airs. Erin, Fantaisie on Irish Airs. Caledonia, Fantaisie on Scotch Airs.

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The above duets are of a pleasing and popular character, and are adapted for moderately advanced performers.

London : Ashdown and Parry, 18, Hanover Square.

A LL AMONG THE BARLEY,” arranged for Piano

forte Solo as a Galop, by Elizabeth STIRLINO, price 2s. Also by the same composer, the above melody, arranged as a Waltz, price 3s. Both compositions may be had of Flammond, 214 Regent Street; Williams, 123 Cheupside ; and Novello, 69 Dean Street, Soho.

NRCHESTRION.-(The grandest self-acting musical in

strument ever made.)- Performance from 10 A.M. until 4 P.M., at No. 3 Hanover Square. Cards of admission to be had by letter, or on presentation of card at Messrs. Imhof and Mukle's, 547 Oxford Street. Manufacturers and importers of all kinds of self-acting and barrel musical instruments, pianofortes, Nicoll Freres musical boxes. and a new kind of organ for churches and schools.

Satanella Polka Mazurka.
Dinorah Polka Mazurka.
Eva Polka Mazurka.

Evening with Meyerbeer.
Evening with Balfe.
Evening with Christy's Miastrels.

Bianca Waltz, Illustrated,
Bianca Quadrille, ditto.
Bianca Polka, ditto.
Bianca Galop, ditto.
Spring Buds Waltz, ditto.
Margaretta Waltz, ditto.
Daisy Waltz, ditto.
Christmas Waits Quadrille, ditto.
Lord Lovel's Waltz, ditto.
Beloved Star Waltz, on Thou art so near.

ORGAN OPENING.--A Grand new Organ with four

rws of keys, built for a gentleman, will be opened at King's Organ Factory, Bear Yard, Lincoln's inn-Fields, by Mr. Fowler, on Saturday, December 29th, and Saturday, January 5th, at 3 o'clock each day. The attention of the musical public is solicited to the above admission on presentation of cards.

T ETTS' APPOINTMENT DIARY, price 28. 6d. in

roan tuck pocket-book. An hourly arrangement of each day, to enable Professors and Teachers of Music to regulate their engagements exactly. This book originaled with one of the greatest Vocalists of the day. Sold by all Booksellers. Descriptive catalogue, gratis.

Letts, Son & Co., Publishers, 8 Royal Exchange.


GANIST or Assistant to some professor. He would pay a small premium to any gentleman who would give him a salary and instruction, with board and lodging, for his services. Can tune and repair pianofortes, has been organist four years, and has a general knowledge of instruments. Can produce unexceptionable testimonials.

Apply to J. H. Jewell, Music Publisher, 104 Great Russell Street, Blooinsbury, London,

New Year's Quadrille, Illustrated.
Ramsgate Sands Quadrille, ditto.
Serpentine Quadrille, ditto.
Bal Masque Quadrille, ditto.'
Knickerbocker's Polka, ditto,
Dream of the Rose Waltz.

Colleen Bawn Waltz, Illustrated.
Woman in White Waltz, ditto..
Don Pasquale Waltz.
Waterfall Galop,




OPINIONS OF THE PRESS. “An unquestionable success." -Times.

“[t is clevet, gay, full of motion, and, above all, full of melody."“It contains melodies not only beautiful, but strikingly original.” | Athenæum. -Daily News.

“Bianca is the most perfect and beautiful of all Balfe's operas."“This last work is beyond comparison Mr. Balfo's best.”Daily News of the World,



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'TWAS HE MY ONLY THOUGHT. Ballad. Sung by Miss Louisa Pyne

“ In vain I strove"
YES, I SHALL SEE HIM ONCE AGAIN (Song) with Cabaletta la

g by Miss Louisa PYNE .
WHAT SUNSHINE BRIGHT. Rondo Finale. Sung by Miss Louisa PYNE ..
MY CHILDHOOD'S DAYS. Sung by Miss Louisa PYNE. . . . .
ONE, TWO, THREE. Song from the Minuet Scene. Sung by Miss THIRLWALL .

ALBERTO LAWRENCE . . . . . . .
ALTHOUGH WITH COLD DISDAIN. Duet. Sung by Miss Louisa Pyne and MR. WHARTON
GLORIOUS WINE. Drinking Song. Sung by Mr. W. HARRISON . .

. GLORTOUS WINE. Drinking Song (with Chorus). Sung by MR. W. HARRISON


*.* The Concerted and other remaining portion of the Vocal Music is nearly ready.

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s. d.

$. d, re. Arranged as a Duet by the Composer. 6 0 | Berger's (E.) Fantaisie de Salon . The Favourite Airs, arranged by NORDMANN as Solos Jules Brissac's Fantaisie on Bianca

. 3 0 and Duets, Three Books . . . each 5s. & 6 0 Laurent's Bianca Quadrille. Illustrated by Brandard 4 Brinley Richards' “ 'Twas He my only Thought". 3 O Laurent's Bianca Valse. Illustrated by Brandard . Brinley Richards' “Gold Rules the World ” ..

Laurent's Bianca Polka. Illustrated in Colours : 3 Brinley Richards' “ What Sunshine Bright”.

Laurent's Bianca Galop. Illustrated in Colours , 3 0 Kuhe's Fantaisie Brillante .

4 01 Nordmann's Four Favourite Melodies (Arranged for Kuhe's Bianca Galop . .

. 3 0 1 Beginners on the Pianoforte)

) Oury's (Madame) Grande Fantaisie

. . . each 10 . 4 01 ** Numerous Arrangements for Pianoforte and other Instruments are in hand, and will be published immediately.

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Printed by George ANDREW SPOTTISWOODE, of No. 10 Little New Street, in the Parish of St. Bride, in the City of London, at No.5 New-street Square, in the said Parish.

Published by JOHN BOONEY, at the Office of BOOSEY & Sons, 28 Holles Street. - Saturday, December 29, 1860.

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