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believe that the work of the night had not its ennobling and improving influences. On Saturday next (this evening) the whole party will again appear, with an important addition, that of Mr. Sims Reeves.

Letters to the Editor.

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CONFUSION OF INSTRUMENTS. SIR,-Being accustomed to consult your valuable paper, I was astonished to see you quote in your last number, as "worthy of notice," (in what sense quotha ?) a certain extract from a Birmingham newspaper. The learned critic in that precious morceau, by his own showing, does not know a violoncello from a double bass. Is it credible that any one undertaking to instruct the public in matters musical should be so grossly ignorant as not to know the instrument on which Signor Bottesini performs? We shall probably hear shortly that the "celebrated violinist M. Thalberg, and the eminent pianist M. Vieuxtemps are about to favour this town with a visit !" AMATEUR. Birmingham, Dec. 24.

BETTER.*

SIR,-Allow me, in the overflowing of my gratitude, publicly to express my never-dying thanks to MESSIEURS PETIPACE (not desiring to "disgust "), CRUMB (bis ditto), HORACE (ESQ), MAYHEW, and WILL'S SON HAYDN, for the unmerited kindness they have (joined) done me in removing a most severe attack of hypochondriacalism. All the doctors for miles around had cast me up as incurable and to the above gentlemen alone is due the praise and glory of restoring me to an almost sound state of mind. I make this avowal notwithstanding the ANGUISH I may have to endure in so doing, and describe myself, Sir, Gentlemen, and Wit's-End, CRUSTY.

N.B.-That demented Viola, who last addressed you from this neigh

bourhood, is still at large, but closely looked after. The Gipping is daily expected to show signs of being on fire.

CHRISTMAS MESSIAH AT LEEDS.-The committee of the Leeds Town Hall Concert Society gave their annual performance of the Messiah on Saturday evening in the Victoria Hall. There was a large attendance. With the exception of Mr. Weiss, who enters so thoroughly into the work that he deserves to be a Yorkshireman, the principals, chorus, and band were selected from the West Riding; and, to those who know the resources of our county, we need not say that the performance was an excellent one, and fully realised the hopes which had been held out. The soprano music was entrusted to Mrs. Sunderland and Miss Whitham, the contralto to Miss Crosland, the tenor to Mr. Inkersall, and the bass to Mr. Weiss. The chorus was selected from the Leeds Concert Choir, strengthened for the occasion by voices from various parts of the Riding, and supported by a full band under the leadership of Mr. Haddock, and the organ played by Mr. Spark. Mr. Jackson, of Bradford, conducted. Notwithstanding the inclemency of the season, the principals were all in good voice, and the solos throughout were well sung. The opening recitative was finely declaimed by Mr. Inkersall, and the air "Every valley" with great sweetness, as also "Behold and see." He was followed by Mr. Weiss, whose enthusiastic reception was a well-deserved tribute to his great abilities; and the recitative "Thus saith the Lord," and the air "Who may abide," were given by him with admirable taste and expression. In the splendid air, "Why do the nations," he received the only encore of the evening, but in the trumpet solo his singing was marred by the unsatisfactory way in which the accompaniment was played. Mrs. Sunderland was received with a welcome not less sincere, and deserved the applause with which her singing was greeted. Her declamation was spirited, and the airs, "How beautiful are the feet!" and "I know that my Redeemer liveth," were exquisitely sung. She was ably supported by Miss Whitham, whose "Come unto me' was really a fine piece of vocalisation. The two contralto airs, " He shall feed his flock," * Replique pour mie.

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and "He was despised," were carefully sung by Miss Crosland especially the former. The choruses were given with power and effect, and the organ accompaniments were well played. And, the glory" was vigorously sung, and the "grand" choruses, toge ther with "Lift up your heads," were given with true Handelian fire and spirit. The overture and Pastoral Symphony were very well played, and the performance appeared to give entire satisfaction.

MAIDSTONE.-Mr. W. B. Gilbert delivered the first of his two lectures on the Pianoforte on Wednesday evening last, at St. Peter's Schoolroom, on behalf of the St. Peter's Working Men's Institute. In the course of the lecture the following pieces were performed:

"Gloria Tibi Trinitas," Blitheman, 1555; Popular Air, Bird, 1569;
Air with "Doubles," Bull, 1591; Slow "Aire" and Jig, Lully, 1670;
Air (varied), Murshausen, 1696; March, Couperin, 1700; " Harmonious
Blacksmith," Handel, 1720; Allegro, Schröter, 1750; Air (varied)
Haydn, 1760; Piece, Pleyel, 1770; Air (varied), Mozart, 1775; Sonata,
Mozart, 1780.
At the conclusion of the lecture a vote of thanks was carried by
acclamation. The second lecture was given on Wednesday, when
the following pieces were played:-

Clementi's Sonata in C, 1790; Clementi's Air (with var.), 1800; Field's
Romance, 1800; Beethoven's Sonata Pathetic; Beethoven's Moonlight
Sonata; Beethoven's Licknowsky Sonata; Mendelssohn's Song without
words; Döhler's Nocturns.

Before the company broke up, the National Anthem was sung, and
a handsome compliment was paid to the lecturer by the Rev. W.
A. Hill (seconded by Mr. Arthur Whitehead), who expressed his
gratification with Mr. Gilbert's ability and readiness to come
stitution whose chief purpose was the benefit of working men.
forward and help the efforts now in progress at developing an in-

ROME. The affair of the Philharmonic Society has been brought to a close much in the way that was anticipated. When the members obtain a general acquiescence in the performance at the Aliberti met for rehearsal on Tuesday night the president vainly endeavoured to Theatre, urging the charitable object, and so forth. The dissentients declared that, after the publicity that had been given to what had passed in their green-room, and to the expectation of a demonstration, that demonstration had become inevitable, because, if a portion of the audience should applaud them, a political motive would be supposed and the opposition would be sure to hiss. Finally, it was put to the vote whether the Aliberti performance should take place or not. Nominal voting was proposed, but objected to and overruled—very naturally, since those who voted against the benefit would have been marked men and women. The voting took place by ballot, and there were 42 noes to 43 ayes. So small a majority was equivalent to a defeat. Nevertheless the president asked the musical director if he would undertake to give the opera with 43 singers. The reply was that it would be impossible, and this was self-evident, since all the chief singers may have been among those who would not sing. The president, Signor Alborghetti, then declared his intention of resigning his post, which announcement was received in profound silence. The musical director and one or two other functionaries of the society followed his example. On the following night the last concert of the season took place under the management of a vice-president. A demonstration was anticipated, but, as it was the closing performance, the Government did not think proper to incur the odium of prohibiting it. The singers enter through three doors, one at the back and one on either side of the platform. As soon as the leading files made their appearance there was a burst of applause from a crowded audience, which was kept up and renewed for several minutes. The performance then proceeded. Yesterday it became known that Cardinal Altieri, Cardinal-Protector of the society-an officer whose functions are rather vague-had notified to the musical director the "suspension" of the Philharmonic Association. This may be taken as equivalent to a dissolution; but as the season is over it matters very little. The majority of the Philharmonists doubtless believe with joy that before another season comes there will be no Pope or cardinal in Rome to hamper their freedom of meeting and singing. The whole affair is an excellent illustration of the pettiness of the Papal authorities, and of the feelings of animosity entertained to them by the Romans. Great spirit may fairly be supposed that it was some sacrifice to give up an opporwas displayed in the matter by some of the ladies-to most of them it tunity of a little public display and admiration combined with a charitable purpose.

Advertisements.

ST. JAMES'S HALL,

MONDAY

(REGENT STREET AND PICCADILLY.)

HER MAJESTY'S THEATRE.-Lessee, Mr. E. T.

SMITH-Notice.-Grand Morning Performance To-day (Saturday) of the
Christmas Pantomime, commencing at 2 o'clock.
THIS EVENING, the original opera, entitled QUEEN TOPAZE. Raphael (a
Captain), Mr. SWIFT; Annibal Barbiano (a rich Venetian), Mr. SANTLEY; Franca-
trippa and Fritellino (Gipsies), Messrs. PATEY and TERROTT; Gritti, Mr. BARTLEMAN;
Zeno, Loredano, Manfred, and Bembo (young Venetian Nobles), Messrs. BEALE, St.
ALBYN, BAKER, and THOMPSON; Countess Filomela, Mdlle. ALESSANDRI; Hostess of
an Inn, Miss HEMMING; and Topaze (a Gipsy), Mdlle, PAREPA. Malle. MORLACCHI

POPULAR CONCERTS. and M. MASSOT will dance in the incidental ballet. After which the entirely new and

THE SEVENTH CONCERT OF THE THIRD SEASON

WILL TAKE PLACE

original grand musical, magical, and comical burlesque ballet pantomime, founded on one of the most popular of our old national stories, and entitled THE HARLEQUIN AND TOM THUMB; or, Merlin the Magician and the Good Fairies of the Court of King Arthur. The scenery, entirely new, under the superintendence of Mr. William Beverley, Artists, Mr. Charles Brew, Mr. Sanders, &c. The overture, choruses, and the whole of the music composed by J. H. Tully. The libretto by Mr. E. L. Blanchard, and the whole produced under the direction of Mr. Robert Roxby; assisted by Mr. R.

ON MONDAY EVENING, JANUARY 14, 1861, Phillips. The pantomimic physiognomy and designs for the dresses by Dykwykyn.

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DARD.

PART II.-Sonata, in C minor, for MISS ARABELLA GODDARD, Pianoforte, and M. VIEUXTEMPS, Violin-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, Is.

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, aud Oetzmann and Co., Regent Street; Bradberry's, London Crystal Palace, Oxford Street; Duff and Co., C5 Oxford Street; Prowse, Hanway Street; Chidley, 195 High Holborn; Purday, 50 St. Paul's Church Yard; Keith, Prowse, and Co., 48 Cheapside, Turner, 19 Cornhill; Cook and Co., 6 Finsbury Place, South; Humfress, 1 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. 8

MONDAY

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The Committee of the Liverpool Philharmonic Society have great pleasure in informing their subscribers and the public that they have entered into arrange. ments with the Directors of the Monday Popular Concerts (Messrs. Chappell and Co., of London), which enable them to announce TWO CONCERTS in the exact style of those justly celebrated entertainments. The Programmes will be exclusively selected from the repertoire of the above Concerts, and include many of those pieces which have been received with the greatest favour at St. James's Hall. The artists, vocal and instrumental-including the renowned violinist,

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The following is a list of the performers:

INSTRUMENTAL.-Quartet, first violin, M. VIEUXTEMPS. Second Violin, Herr RIES. Viola, M. SCHREURS. Violoncello, Signor PIATTI. Pianoforte, Mr. CHARLES HALLE. VOCAL.-Soprano, Mad. LEMMENS-SHERRINGTON. Bass, Mr. WEISS. Accompanist, Mr. CHARLES HALLE.

As no less than 47 of the Monday Popular Concerts have been given since their first institution, on November 14th, 1859, and as scarcely two out of the 47 Programmes have been precisely identical, it is of course impossible to do more than present some of those compositions which have produced the most marked effect at St. James's Hall. These, however, have been selected with a view not less to agreeable contrast than to individual excellence; and it is believed that the following may be safely offered as a

The machinery by Mr. Tucker. The tricks and properties by Mr. Needham, Mr. Glindon, and Mr. II. Adam. The costumes by Miss Dickinson and Mons. Laurie, The harlequinade by the Lauri Family. Interior of Gaffer Thumb's Cottage-Gaffer Thumb, Mr. Forster; Goody Thumb, Mrs. Lindon; Merlin (the Wizard of the Early Ages, and Professor of Parlour Magic), Mr. Dixon. Tom Thumb ("the abridgment of all that is pleasing in man," engaged especially for juvenile patrons), M. Lilia Ross. Rosewater Lake and Romantic Haunt of the Fairies.-Rosalie (Queen of the Fairies), Miss Mason. Gaffer Thumb's Cottage.-Tom, the Tinker, Mr. Solderwell. Farmyard and Distant Country. Turrets and Terrace of Giant's Castle.-Hurlothrumbo (the Giant), Mr. Fecfawfofum. The Banqueting Hall in the Palace of King Arthur.King Arthur ("He was a goodly King."-Minstrel of the Period), Mr. E. St. Albyn: Huncamunca (his daughter), Miss Highbury Barnes. Changing to the Chameleon Temple of the Fairies. Grand Magical Metamorphosis.-Harlequin, Mr. J. Laurie. Columbine, Miss Jenny Lauri. Clown, Mr. C. Lauri. Pantaloon, Mr. H. Lauri. Sprites by the celebrated Arabs. Scene 1.-Grocer's, Surgeon's and Chymist's Shops. Scene 2.-Furnished Apartments. Scene 3-Light Fleeting Clouds and Final Tableau Notice.-During the Pantomime the doors open at half-past 6. commence at 7 o'clock. Box-office open from 10 till 5, under the superintendence of Mr. Nugent.,

To Correspondents.

T. P. D. (Shrewsbury.)-Received.

DISAPPOINTMENT.-Received.

HAMMOND and NEPHEW shall be attended to at an early opportunity.
E. T. (Reigate.)—The copies were mislaid, but shall be sought out
immediately.

MR. JOSEPH GODDARD.-Acknowledged with thanks. There are two
sides to the question, which, however, we have not at present to dis-

cuss.

L'ORGUE and "Twelfth Study " next week.

Notice.

THE MUSICAL WORLD may be obtained direct from the Office,
28 Holles Street, by quarterly subscription of Five Shillings, pay-
able in advance; or by order of any Newsvendor.
ADVERTISEMENTS are received until Three o'clock on Friday After-
noon, and must be paid for when delivered.

J Three lines (about 30 words)
Terms {Every andlitional line 10 words)"

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2s. 6d. Gd.

The Musical World.

LONDON: SATURDAY, DECEMBER 29, 1860.

THESE

HE death of Mr. Alfred Bunn, which occurred almost suddenly, from a fit of apoplexy, on Thursday, the 20th model specimen of the Programmes to which the Monday Popular Concerts owe their instant, at Boulogne, will be deeply regretted by a large

reputation:

PROGRAMME.

PART I Quartet, in G,{No. 1 (Mozart), M. VIEUXTEMPS, Herr RIES, M. SCHREURS,

circle of friends and acquaintances. Some eight or nine years since Mr. Bunn seceded from the management of

and Signor PIATTI. Song, "Name the glad day" (Dussek), Mad. LEMMENS. SHER- Drury Lane Theatre, with the history of which his name

RINGTON. Prelude, Sarabande, and Gavotte, for violoncello and pianoforte accom-
paniment (Bach), Signor PIATTI. Song, "The Bell-ringer" (Wallace), Mr. WEISS.
Sonata, No. 3, Op. 29, in E flat (No. 18 of Hallé's edition)-(Beethoven), Mr. CHARLES
HALLE.

PART II.-Sonata, in B flat, Op. 69, No. 1, for violin and pianoforte (Dussek), M.
VIEUXTEMPS and Mr. CHARLES HALLE. Song, "Ah! why do we love (G. A. Mac-
farren), Mad. LEMMENS-SHERRINGTON. Song, "Sir Marmaduke" (Angelina), Mr.
WEISS. Quartet, in B flat, No. 6, Op. 18 (Beethoven), M. VIEUXTEMPS, Herr Ries,
M. SCHREURS, and Signor PIATTI.

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is most intimately associated, and retired comparatively into private life. In 1833, Captain Polhill having withdrawn from the management of Drury Lane, he became lessee of that establishment, and also undertook the official administration of Covent Garden, which at the same time was left without a head. Mr. Bunn had been manager of the Birmingham Theatre so far back as 1826, and was engaged by Elliston as acting manager of Drury Lane. When Elliston withdrew, the government fell into various hands, and finally centred in those of Captain Polhill, Mr. Bunn retaining the executive reins under every change of administration. On

is beyond contradiction a manifestation of powers; and if
power is not intellect, we should like to know what is.
Mr. Bunn did not confine his literary efforts to inditing
books for operas. He is the author of an exceedingly
amusing work in three volumes, entitled The Stage, Behind
and Before the Curtain, which created an extraordinary sen-
sation when it appeared, in consequence of the fearlessness
of its opinions and its theatrical revelations. He also wrote
a curious little pamphlet, A Word with Punch, which made
even a greater impression than the Stage, but was not so
well-directed nor so humorous. Whether Mr. Bunn ever
published his American Notes we know not, but we remem-
ber attending his lectures on his return from America, and
being infinitely amused by their drollery and spirit. His
latest contributions to literature have been sundry papers
under various titles, which appeared in the Era up to a re-
cent date, and which declare the writer in full possession of
his faculties.

Captain Polhill's abdication, Mr. Bunn was, by universal request of the committee, called to the throne, and filled the regal seat with honour and renown until he laid down his crown and sceptre in 1848, after a brilliant reign of fifteen years. During this period Mr. Bunn proved himself one of the most enterprising and energetic managers that ever presided over the destiny of a great theatrical establishment. Some of the glories of the past drama. more especially the lyric drama-are connected with his administration. Certainly in his day the greatest reverence was not paid to the acknowledged chef-d'œuvres of the opera, and Mozart, Rossini, Auber, and other masters, were submitted without hesitation to the caprice of any musical director Henry Bishop, Tom Cooke, Rophino Lacy, &c.who thought proper to hew, hack, alter, and improve any work placed at their option, which they never failed to do mercilessly and without consideration. How such masterpieces as Don Giovanni, William Tell, the Barbiere, &c., were tortured and "fitted," as the saying was, to the popular taste, would be incredible in these days of respect and veneration. Mr. Bunn was no musician, and, if he were, might readily be pardoned for being carried away by the prevailing feeling. The English version of Gustavus the Third, brought out under his management at Covent Garden in 1833, although from the alterations and additions made to Auber's score it would now be termed a desecration, was one of the most magnificent and costly productions ever presented to the British public. With hardly less splendour and completeness, and with a trifle more regard to the composer, Lestocq was subsequently given under Mr. Bunn's direction. But more, besides the production of these and like operas on a grand scale, is due to Mr. Bunn. He introduced Malibran on the English stage, and had the Sonnambula especially translated for her. He first presented an opera by Mr. Balfe, and laid the foundation of the fame of our most popular operatic writer in the production of the Siege of Rochelle. In the first decline of the drama he endeavoured to uphold its for tunes by the engagement of Macready and a strong tragic company; and manifested his desire to please universally and in all ways by securing the celebrated danseuse, Duver-ingly, we receive the assurance that what to us sounds harsh nay, for the ballet, and by an occasional engagement with Mile. Taglioni and lesser stars of the dancer.

With the Maid of Artois, we believe, commenced Mr. Bunn's essays in operatic writing, and one song in that work, at all events, "The light of other days is faded," obtained a celebrity, something of which was due to the character of the words. Having discovered in himself a new vein of talent, Mr. Bunn was not slow in turning it to account. The libretto of the Maid of Artois was followed by that of The Bohemian Girl, a still greater success for poet and musician, and the names of Balfe and Bunn went linked through the land among the shining lights of the day. That Mr. Bunn was a true poet, instinctively and artistically, it would be too much to aver; but that, because he was not a poet born or made, he was therefore incompetent to write, should not, we fancy, be insisted on. Mr. Bunn was extremely shrewd and clever, and knew as well as any man living what would please the million in prose or rhyme. His poetry was suggestive, if nothing else, and we have heard more than one person, and no fools either, go into raptures with the poetry of "When other lips and other hearts," although Mr. Punch offered a reward to any one who could discover its meaning. Nay, Mr. Bunn's poetry began to exert a special influence; managers and singers admired its abstractions and remote sentimentalities, and a school was being formed, of which some of our modern librettists are the true disciples. This

In private life Alfred Bunn was one of the most jovial companions that ever placed knee under mahogany; and in his own house he was the most munificent and exhilirating of hosts. He had long ceased dispensing his jests and hospitalities, but his friends will no less remember his universal liberality, his unvarying kindliness, his deep sympathies' his good humour, and the merry, merry laugh that was wont to set the table in a roar.

MR. HULLAH.

(From the Morning Post.)

ANGUISH.

PERSONAL experience of this world's cares and sorrows, its trials and reverses, has been compared by a great writer to a pale musician holding in his hand a dulcimer of patience, whence the strain sends forth, in sad and perplexed minors, harmonies, which we cannot fully understand, of Heaven's will in man's chequered lot. Impatiently we demand, "Where is any certain tune, any measured music, in such notes as these?" And doubtingly, at times almost despair

and jarring may be recognised in higher and purer spheres as the issue of completed cadence.

The experience imaged by a music so perplexed is at this very time most severely and sharply made by one whose services in the cultivation of English music, in extending its influence and diffusing its highest pleasures, have been above all praise. The pecuniary embarrassments which have overtaken Mr. Hullah in consequence of the burning of St. Martin's Hall have awakened throughout the whole country, but especially in the metropolis, where he has so zealously laboured, a feeling of spontaneous, generous, and active sympathy, which, we heartily rejoice to see, will not evaporate in mere empty words and phrases. The committee which has just been formed under the chairmanship of Mr. Dickens, in consequence of "the strong desire manifested in various influential quarters to render some service and encouragement to Mr. Hullah, late of St. Martin's Hall, and in order to consolidate the general feeling of good-will 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," this committee, of which the Marquis of Lansdowne, Sir John Coleridge, Sir James Kay Shuttleworth, the Dean of Westminster, and many others of high social standing, have consented to be members, is only endeavouring to discharge an obligation of which the strong sense must

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.

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 Theatres.

THE CHRISTMAS ENTERTAINMENTS.-The good old pantomime is more than ever in the ascendant. A few seasons since his ter ritory 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 pride of place Clown, Pantaloon, Harlequin, and the whole troop the Christmas holidays, and have driven away from their ancient of motley that had for centuries monopolised the amusements of holy-time. Shining wit and brilliant writing, nevertheless, were found to have 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 barlequinade 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 The reader of Mrs. Hutchin-war-blast that scattered the enemy to the winds. It is a fact-to son's delightful memoirs finds in them abundant proofs that descend from our camel-that in the Christmas amusements of the the severe standard of Puritan manners never for an instant London theatres some few years since, the pantomime proved the attempted to banish the enjoyments in which a Milton found exception, not the rule. In the present year, on the other hand, his chief delight. But the art which was a favourite plea- 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 Reine 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. On 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 Hurlequin and Tom Thumb; or, Merlin the Magician, and the Good Fuiries of the Court of King Arthur. The miniature hero, personated by Miss Lilia Ross, goes through all the traditionary adventures, is brought 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 Lauri Family support the humours of the harlequinade, and the characters undergo the usual metamorphosis. The celebrated 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

sure in the social life of the sixteenth or seventeenth has be

come 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 races 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

Mr. Tully, by original music, has given some striking features to the vocal illustrations; the masks and characteristic costumes are by Dykwynkyn. 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 "Rosewater 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. Balfe'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 Bluebeard, as propounded by Mr. Bridgeman, 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.

DRURY LANE. This theatre commenced its winter season in carnest 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. Blanchard, 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 scenery 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 first 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 a "great gathering of the Winged Women at the trysting place by the spreading Banian Tree," with beautifully winged glumims and gwaries descending through the air, in glit tering 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. Wm. 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. H. Naylor 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 ento-
mological and fairy Christmas pantomime, Queen Ladybird and her
novel effects of fire and real water, never before attempted in any
Children; or, Harlequin and a House on Fire, "produced with
theatre." If this pantomime is to have a run, it must be both
curtailed and re-worked. One great feature in it was a "muff
dance" in Kensington Gardens, excellently and gracefully danced.
As to the "fire and water," there was none of the former, and we
combinations of glass in the scenery were superb.
have seen the latter better disposed on former occasions; but the

PRINCESS'S. The pantomime at this theatre, written by Mr. H. J. Byron, is entitled Robinson 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 under the direction of Mr. T. II. 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 have been more adequately appreciated. The extravaganza is very brilliantly mounted, and very well acted. Mr. Robson idealised the Tartar into the presentation of one of the most peremptory and vocal of tyrants, and Miss Louise Keeley sang several parody songs very nicely. Picturesque groupings and lively dances were interspersed, at fitting intervals, during the performance; and the closing scene, 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. Brough, is entitled The Loves of Diana and Endymion; or, the Naughty Boy who Cried for the Moon.

ADELPHI.-Blue Beard Regarded 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.

Advertisements.

WANTED, in the Music Trade, an ASSISTANT,

who can try a pianoforte or harmonium, and is perfectly competent to direct the tuners, packers, polishers, &c., in a large house. Regularity in time and system especially required.-Apply by letter, with references and all particulars, to G.J., at Chappell's, 50 New Bond Street.

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