Armes /" Let our neighbours, nevertheless, apeak (or rather sing) for themselves.

A third consideration—less artistic, but no less necessary—will be the cost of bringing over from France to London three thousand persons, and keeping them while they remain here. It may be argued that, with economy, the expense would not be considerably greater than that involved in collecting the vast forces of the recent Handel Commemoration from all parts of Great Britain and Ireland. We must remember, however, that a certain number only had to come from distances. But the whole of the French singers are to be conveyed from France, and some from remote parts of the kingdom, Of course, economy being indispensable, special trains might he chartered, and steam-boats hired, and the three thousand be fed and have their hammocks slung, if necessary, at the Crystal Palace. The various Courts—Ceramic, Byzantine, Boman, Alhambra, aud Egyptian—would make admirable sleeping booths, and but little clothing would be required, as the patent steam-warming apparatus might be brought into use. Mr. F. Strange, too, would provide the creature comforts at a reduced tariff, so that in reality everything would be expended within the Crystal walls.

After all, we have little doubt of the success df this undertaking. For our own part, we believe that three thousand French choristers may be as good as three thousand English, and Mr. Bowley is too good a judge, and too conscientious a manager, to think merely of playing upon the curiosity and credulity of the public. We shall refrain from saying any more at present, and wait until the programme is issued. It may then appear that there is still more in the speculation than we imagined. :We shall be glad to find it so. Every great musical undertaking has our warmest hopes, and shall have our warmest support.

"Lono live the "Cour Imperiale de Paris! and Long live M. Perrot de Chezelles, who presided thereover on the 28th of January !!"—exclaimed Panurge, in a high state of " exaltation."

"It rejoiceth me," said Pantagruel, "that thou hast grace sufficient to call down blessings on anyone or anything. But wherein doth the special merit of this Court and this President consist, that thou indulgest in joy so immoderate 1"

"Why the Court, being the Upper Court, hath confirmed the profound proposition promulgated by the Lower Court, to the effect that that whioh supporteth is higher than that which is supported," said Panurge.

"Thy discourse," said Pantagruel, "is exceedingly harsh and crabbed,—with thy upper and thy lower,—and thy active and thy passive. Yet it mindeth me of something whereon we conversed profoundly some months ago"

"To be sure it doth," quoth Panurge. "Even now I am referring to the disputed authorship of the piece called Cri-cri, which, as a piece of writing, was stupid as its name, but which was rendered delectable by the introduction of a very clever trick.

•' I know,— I know" — exclaimed Pantagruel. "My memory is suddenly lighted up with the most dazzling splendour. The Tribunal of the Seine decided that the machinist, who had kept up the rubbish by means of his good ropes and pulleys, should share the rights of authorship. And a most wise decision too! That was the broad case; but thou wilt glad my heart if thou tjtillatest my

mnemonic faculties with a recapitulation of the particular facts."

"Look ye now," said Panurge, punctuating his sentences by the pressure of his right finger on the divers digits of his left hand—"look ye now. MM. Hugelmann, Borsat, and Fanfernot"—

"The names much cheer and refresh mine •ear," remarked Pantagruel, smacking his lips.

"That is nothing to the purpose," said Panurge peevishly. "Well, these three gentlemen"—

"Hugelmann, Borsat, and Fanfernot," murmured Pantagruel, as if the rolling words gave him exquisite pleasure.

"Those three," continued Panurge, "took the piece called Cri-cri to M. Billion, of the Cirque-lmperiale who accepted it."

"Did he though," said Epistemon. "Then wits might declare that he was a man of a billion."

"Fools might declare so," observed Panurge, with infinite contempt. "Fanfernot was the chief inventor of the tricks."

"Therefore will we call him the trickster," said Pantagruel, with a smile.

"The literary part of the work was done by the others."

"Hugelmann and Borsat without Fanfernot," cried Pantagruel, with infinite satisfaction.

"Then there was a certain Mdlle. Thys, who swore that she had something to do with the authorship of Cri-cri," continued Panurge.

"And her share of the work was V asked


"May I be smothered in onions if I know," growled Panurge; "but she was allowed her share of the pay. Last conies one M. Raignard, who declares that he, not Fanfernot, invented the chief trick in the piece."

"Truly an admirable assembly," exclaimed Pantagruel. "Here are Hugelmann and Borsat, who write and don't trick; here is Fanfernot, who doth not write but tricketh generally; here is Raignard, who tricketh not generally but specially; lastly, here is Mdlle. Thys, who doth something so obscure that history forbeareth to describe it. We will invite them all over to London, and entertain them witli whelks."

"These were all put on the same footing by the Tribunal of the Seine," continued Panurge, "which admitted the claim of Raignard, and decided that although in the case of a purely literary work, the decorations were merely accessary, it is otherwise in the case of a fierie, where the eye is addressed rather than the intellect. In this latter case, the inventors of the tricks should equitably be ranked among the authors of the piece."

"What wisdom aboundeth on the banks of the Seine!" sighed Pantagruel, after a few moments of profound meditation.

"Against this decision," continued Panurge, '.' Borsat and Fanfernot appealed"—

"But not Hugelmann or the lovely incomprehensible Thys?" observed Pantagruel, inquiringly.

"No," ejaculated Panurge—" and the wiser they. For lo! the Imperial Court hath confirmed the decision of the Court below, and therefore Raignard is allowed not only a fifth part of the profits gained by the elaborators of Cri-cri, but his name may figure on the bills as one of the authors."

"I will send for one of those bills," said Pantagruel seriously, "and I will post it up in my palace, that I may see what great glory is attained by ingenuity, when it hath wisdom for its ally."

Habent ma fata—not only books, but also operas. Of this we have a striking example in the bad and good fortune which has attended Rooslan and Loodmila, said to be the masterpiece of the late Michael Glinka, who was certainly the most remarkable composer of modern Russia. Glinka had chosen for his subject the legend after which his opera is named, and which had already suggested to Pouschkin his earliest and one of his most beautiful poems; but he had considerable trouble in finding a librettist, and when at last the book was begun, it appeared almost impossible to get it completed. From various causes, first one author, then another, had to abandon the work, until, before it was finished, as many as ten different writers had been employed upon it, and finally, we are told by a Russian critic, it could only be compared to a figure having an eye by one artist, a hand by a second, an ear by a third, and so on.

Glinka had to write the music under very trying circumstances, but it was the best music he had ever composed. The opera was put into rehearsal, announced for performance at the Tsirk Theatre, and the public expected something wonderful, but—as afterwards appeared—something quite different from what Glinka had produced.

Just before the night fixed for the first representation, Petrova, the popular prima donna, and the only vocalist capable of doing justice to the principal part, was taken ill. The opera, however, was brought out, was coldly received, and before Petrova was sufficiently recovered to sing, Rooslan and Loodmila had been pronounced a failure. The Russian critics of the present day attribute this failure to the bad taste of the public, who had previously received with enthusiasm the Life for tlte Czar, by the same composer, an opera of a much lighter charaoter, aDd which owed its success chiefly to the national character'of the principal melodies. Glinka's Mends behaved worse, even, than the public, for they tormented him until ho at last consented to alter his score, and he was so mortified at this want of appreciation, that he ceased from that time to take any interest in operatic music, and nover afterwards wrote for the stage.

Rooslan and LoodmU't, after being remodelled, was played for a time at the Tsirk theatre, until owing to the allabsorbing success of the Italian Company, it was thought advisable to transfer the Russian opera from St. Petcrsburgh to Moscow. Glinka's masterpiece produced but little impression in Moscow, where the operas of Donizetti and Bellini were alone in fashion; it was soon laid aside, and when the Moscow opera-house was burned down in 1854, all the magnificent costumes and scenery belonging to Roosland and Loodmila were consumed.

After Glinka's death, in 1857, the St. Petersburgh Philharmonic Society gave a concert consisting entirely of his compositions; but some of the best pieces from Rooslan and Loodmila could only be imperfectly rendered, in consequence of the part for the military band—written with especial care, it would appeal-—having been lost or destroyed. The same year, one of the most esteemed singers of Russia gave the second act of Rooslan and Loodmila for his benefit. This was considered a praiseworthy but daring ex]>eriment, and it was not repeated.

In 1858, however, another artist, convinced of the great merit of the work, and determined, if possible, to force the public to understand it, announced the entire opera for his benefit; and although it had now been neglected for upwards of fourteen years, the Tsirk Theatre went to the expense of producing it in the most elaborate style. PetrofF the singer who caused the revival of Glinka's ill-fated opera

had but a slight part to perform—which made his action the more meritorious—and he is said to have filled it to perfection. All the other vocalists distinguished themselves by tlieir zeal and efficiency; but the conductor had taken upon himself to mutilate the work in a shameful manner: the overture was hurried through at a ridiculous pace. Several instrumental movements were curtailed, and one of the first scenes, in which the prophetess of the legend foretells the advent of Pouschkin, the Great Russian poet, was cut out. Critics protested, published a list of the pieces omitted or disfigured, compared the tempi of the Tsirk Theatre with those marked by Glinka in the original manuscript, and M. Stassaft', in the Russian Messetujer (from which we obtained all our information on the subject), summed up the misdoings of the musical director by saying that he "could not have treated the opera worse if it had been the most frivolous production of the Italian school."

At last; fire, which lias performed such contrary offices in Russia—now destroying whole villages, at another time burning out legions of Frenchmen from the very heart of the Empire—came to the assistance of Glinka. It had served him a bad turn in Moscow—though it must be remembered that the Moscow edition of the work was not Rooslan and Loodmila in its original form, but Rooslan and Loodmila as altered to meet the views of some of Glinka's friends; at St Petersburgh it made up for any former injuries it might have inflicted on the composer, by devouring the mutilated score, and the whole of the fragmentary orchestral parts—whose fate was unavoidably shared by the theatre itself, together with all the scenery aud decorations. The musical director escaped.

It is of course a great pity that the Tsirk Theatre should be burned to the ground, but the musical ptiblic of Russia may congratulate itself on the Tsirk's perversion of Rooslan and Loodmila not having been saved. It is surely better not to hear music at all for a time, than to hear it misrendered, with a chance of the misrendering turning into a tradition. During nearly twenty years, that nave elapsed since its first production, Glinka's principal work must have been studied by numbers of persons, it has passed through a great deal of criticism, and two conflagrations, it has been rescued by fire from the hands of a merciless arranger (who appears to be the Alary of St. Petersburgh), and let us hope that it is only reserved now to be performed—and appreciated—■ in its integrity.


We have already at some length directed attention to the principal features of the recent great musical gathering in the North. We have shown the benefits likely to accrue from an undertaking of such magnitude, the impulse it is calculated to give to art, and the effect it will create on the popular mind. That a l eal feeling and taste for music existed in the minds of Scotchmen, no oue pretended to doubt; but that, out of the capital, the people had not opportunities of hearing the best music, aud that, consequently it was uot understood aud appreciated, were supposed to be facts not to be disputed. The Glasgow Festival can ouly be accepted as au inauguration of a better state of things; and no reason can be shown why Glasgow should not compete with Birmingham, Norwich, Bradford, and Leeds, in establishing a triennial festival. The members of the Choral Union, wo have no doubt, will not remain idle after the success they achieved, but endeavour to place the " city of the saut herring" on a par with less populous and renowned cities of the South.

The Festival was an unequivocal success. ltopenedonTuesday evening with Elijah. The principal solo singers were Madame Clara Novello, Miss Dolby, Mr. Sims Reeves, Mr. Lockey and Mr. "Weiss. The opening chorus " Help, Lord," although a little tremulous at first, sa*isfied every listener as to the quality of the choir. Power, precision, energy, correctness of intonation, were alike manifested. Indeed, the chorus merited the highest praise throughout the oratorio, and many did not hesitate to express an opinion, that finer choral singing could not be heard iu London. Much of the perfection at which the members have arrived is undoubtedly due to W. H. Albert Lambert, the conductor, who has been for months indefatigable iu exercising the whole corps. The solo singers were all in admirable force, bat the sensation they created may be readily surmised.

On Wednesday night a miscellaneous concert was given. There were no important pieces for the orchestra besides the overtures to the Zauberjiote, The Naiades, and Oberon. The latter was encored. Tlfe vocal pieces comprised most of the favourites of the day, which, of course, were in some measure new to most of the Glasgow folk. Mr. Lambert was incapacitated from attending, and Mr. Horsley filled the place of conductor.

Mr. Horsley's, new oratorio, Gideon produced on Thursday evening was the novelty of the festival, and excited much curiosity and interest. The composer hitusel! conducted; the band and chorus had bestowed infinite pains on the rehearsals, and the soloists wero instigated by a real brotherly and sisterly affection, to give the work every chance of succeeding. The principal singers Were Madame Clara Novello, Miss Witham, Mr. Lockey, Mr. Sims Reeves, Mr. Lockey, and Mr. Winu. The oratorio was eminently successful. A brief analysis (without criticism) of the musical arrangement of the work (the book has already been described) may not be out of place, en attendant—a detailed account from the pen of a competent judge, which we have iu hand :—

"The Oratorio opens with an overture, bated on the war cry, 'The ■word of the Lord and of Gideon,' and this cry is more fully developed toward* the conclusion of thu piece. Tho Israelites, driven into the mountains of Gilboa, assemble in the valley of Ophra, and there lament tlfeir misfortunes in a' lengthy chorus (G miuor) 'Woe! woe! to Israel,' and, notwithstanding that one of their prophets (Mr. Lockey) reminds them of the wonders God had before wrought for his chosen, they continue their lamentations in an allegro agitato chorus (D minor), in the same strain as tho former. Ebed (Mr. Weiss), cruftily prevails upon them to turn to Baal for comfort, and they accordingly ore about to offer a sacrifice, having first rendered praise in a songlike chorus 'He is a god of laughter' (D major), when Zillah (Madame Novello) in au air (E flat), half persuades them to forego their intention; but Ebed tauntingly asks them "Fools! shall a woman bend ye to her fancy?' and they at once break into a chorus 'Baal! mighty Baal' (F major), in honour of their god. Not only will they not hear the prophetess, Zillah, hut they take an heifer of her flock to sacrifice to Baal. The remonstrance of the prophetess causes them frantically to cry out for Zillah's death, but tho appearance of Gideon (Mr. Sims Beeves) upon the scene restrains their wrath, and in a part chorus, 'Retire we, Heaven speaks bv Gideon's voice' (G major), they retire, and Gideon returr.s to his father's house, where, iu a musing recitative, followed by au air, 'O mighty God of Israel' (E major), he prays for divine direction and support, and is encouraged by a chorus of angels (A major), female voices only, 'Go, in this thy might!' and in answer to his question, ' Oh, my Lord, wherewith shall I save Israel?' ho is directed how to proceed asainst the Midianite; but beforo doing 60, he, with his servants, destroys the shrines of Baul (chorus, D minor, 'Down with the shrines of darkness'), and rears an altar to the living God. Zillah, wandering disconsolate, meets with Gideon, and together they unite in praise to tho Almighty. The duet is written in F major. The theme of praise to God, end prayer for deliverance, is continued iu a double part choral (B Hat), and with its conclusion the first portion of the work is brought to au end. The second part opens with the discovery by the Bnal worshippers of the overthrow of their altars, and, alone; with Ebed, they loudly cry for Gideon's death, but Zillah and Joash intercede for him, the latter declaring 'In deep, still trance my son is sleeping,' whereupon Zillah, in a song (B fiat), 'Thou givest Thy beloved sleep,' describes the ble-sed influence of rest. A series of recitatives and airs follows, in which the near approach of tho Midinnitish host is told, and the people, in their strait, cry to God. A solo (A flat), 1 O, Israel, dear Israel,' and an unaccompanied quartet (C minor), 'Unwonted awe

pervades each heart!' Gideon now declares 'The spirit of the Lord is upon me,' and, i'i an air (E minor), asks for divine help. The people, encouraged, declare their trust in the Lord—chorus (C major), 'All nations compassed us round about'—and prepare to follow Gideon against the cam]) of tho Midianitcs. The third part opeus with a war march (A minor), in tho camp of the enemy, and is followed by a laudatory chorus (A major), 'We have stormed in our might.' It is written for tenors and basses only. Gideon, doubtful of his own powers, and apprehensive of the result, for now but three hundred men remained with him, consults his Creator in a recitative (f major), preceded by a symphony, 'Lord, who am I?' and as his fears vsuish he breaks out into an air, 'Lord, in youth's eager years,' and is then commanded to 'Arise! get tlieo down into tho host—take Pharaoh, thy servant with thee!' The remainder of tho oratorio is taken up with the battle, which is described by angel witnesses, as the people rush impetuously forward with the cry, 'The sword of tho Lord and of Gideon,' and is concluded by the ohorus, 'Welcome, meek and royal heart!' and with another, wherein the glory is ascribed to tho Most High, 'All glory bo to God on high,' both in A major."

At the termination of the first part, and at the end of the performance, which we have intimated was eminently successful, Mr. Horsley was called for and received with the utmost enthusiasm. Mr. Horsley conducted the whole of the oratorio, and displayed infinite tact in his arduous labours.

On Friday night, The Messiah was given. Of this performance it is only necessary to say, that it attracted, as it docs invariably at all the festivals, the greatest crowd of the week, and was executed to the entire satisfaction of all present. It is calculated that a good balance will remain for the charities after nil expenses are paid.

M. And Madame Gassier are expected shortly to arrive in London for the season. .

Royal Italian Opera.—It is rumoured that a Grand Rifle, or Volunteer, Ball, will be given at the New Floral Hall, attached to the Royal Italian Opera, on the 6th of March, under the most distinguished patronage. •■

Exeteii Hall.—Last night the choruses of Elijah were rehearsed by the London Amateur Contingent of the Great Handel Choir, numbering 1,600 voices, under the direction of Mr. Costa.

Myddelton Hall.—The first of a series of weekly concerts took place in the above hall on Monday evening last. The principal artists were Mad. Vinning, Mrs. G. A. Cooper, and Miss Fanny Reeves, Messrs. Elliot Galer, G. A. Cooper, and Viotti Collins. Conductor, Mr. Frank Mori. The music was of a miscellaneous character, and several pieces were encored, amongst which were Madame Vinning's "Within a mile of Edinbro," Miss Reeves' "If I could have my way," and " Come into the garden, Maud," by Mr. Galer ; also a new song by J. Mallandaine, "I'd rather be a soldier," rendered with considerable effect by Mr. Galer, and enthusiastically redemanded. Mr. Frank Mori, conducted, with his usual ability.

Sacred Harmonic Society.—Those who were fortunate enough to be present at Exeter Hall on Friday, February 3rd, are not likely soon to forget the remarkably fine performance of that evening, when Mendelssohn's Hymn of Praise and Handel's Dettingen "Te Deum " were given before an audience which literally crammed that most incommodious building to repletion, many being turned away, unable to find even standing room. The Lobgesang (Hymn of Praise) was the first and, unhappily, the last of three great works which the illustrious composer had projected under the title of Sinfoina Cantata, and was originally produoed at Leipsic, at a festival to commemorate tho four hundredth anniversary of the discovery of printing, when the statue of Guttenburg was inaugurated. Its first performance in England was at the Birmingham Festival, m 1840, since which time it has been frequently heard at the Exeter Hall and the provincial festivals, but had not till within a few years achieved a success commensurato with its merits, which may be in a great measure attributed to imperfect execution consequent upon its immense difficulties, which tax singers and players to a much higher degree than any other work by the same composer. Reoent performances, however, and especially the performance of Friday night, have satisfied all but the most hypercritical, who, "more nice than wise," would discover slight flaws and minute short-comings even in perfection itself. The general, indeed we may say unanimous, opinion of connoisseurs was, that so effective a rendering of the work had never previously been heard in this or, indeed, any other country, and with such high praise to award, it is a matter of difficulty where to begin. Place aux dames—let us commence with Madame Clara Novello, whom we deeply regret to hear intends taking leave of the public this season. A void will be thus created difficult to nil up; indeed, for the moment, impossible, for where are we to find a voice of such quality combined with the musicianlike knowledge she possesses in so eminent a degree 1 Mad. Novello was received both by the audience and orchestra with long-continued applause, and sustained her reputation throughout. The air, "Praise thou the Lord," the short solo," The night is departing," the duet with Miss Martin, who most efficiently supplied the place of toe clever Miss Fanny Rowland (prevented from appearing by indisposition), at a very short notice, and the duet with Mr. Sims Beeves, "My song shall always be Thy mercy," were, one and all, eminently satisfactory. Never has Mr. Beeves sung more magnificently than upon this occasion. The plaintive first air, the picturesque solo, "The sorrows of death," in which occurs the wonderful passage, "Watchman, will the night soon pass ?". literally thrilled the audience, and the succeeding grand chorus, "The night is departing," produced a sensation not readily forgotten. The choruses were, one and all, given with a precision and attention to light and shade far beyond any previous occasion; and the excellence of the band showed to the greatest advantage, not only in the accompaniments, but in the introductory orchestral symphony, the three movements of which were given to perfection. Of the Dettingen "Te Deuni" so entirely different in character, we may also speak in terms of unreserved praise. Each a work of thanksgiving—one produced at a commemoration of the most peaceful—the other in celebration of the most warlike art—each is alike admirable. The majesty and grandeur of Handel formed a wonderful contrast (neither suffering) to the more elaborate and highly coloured beauties of Mendelssohn, and appeared to be as thoroughly enjoyed by the audience, who, in both instances, as usual, defied the orthodox regulations, and although they did not encore, by no means refrained from applause. The solos were exclusively allotted to the bass voice, in accordance with the original intention of Handel, and when we say that Signor Belletti was the soloist, our readers may be satisfied that an irreproachable performance was the result. To Mr. T. Harper, of course, fell the trumpet obbligato to "Thou art the King of Glory," and we believe ourselves fully justified in saying, that no other playe r living, native or foreign, could have played it like him. The great success of this performance has fully justified the Society in announcing its repetition for Friday, the 17th instant.

The Vocal Association have announced their First Subscription Concert, for this season, to take place on Wednesday Evening next, February 15th, at St. James's Hall. The performance will consist of Mendelssohn's Psalm," "Hear my Prayer, O God!" and several new part-songs, by Messrs. Benedict, Berger, and H. Smart, with choir of 200 voices. Mdlle. Parepa and Mdlle. Marie Wieck are engaged. M. Benedict is, as before, the conductor.

ST. JAMES'S HALL. Unlike most of his predecessors in the art of conjuring, Herr Wiljalba Frikell has established himself in this country as a permanent promoter of amusement, and, when other entertainments recommence, an exhibition of his feats is anticipated as one of the natural events of the season. His elevation above a host of competitors is due not only to his extraordinary skill, but also to the circumstance that he was the first to revive that genuine legerdemain which had almost become forgotten amid the superabundance of mechanical ingenuity. Instead of training his fingers to the performance of invisible movements, the modern necromancer had begun to invest his

capital in a glittering apparatus, which not only dazzled the eyes, but perplexed the investigation of the spectators, so that manual dexterity was rendered almost superfluous. It was in opposition to this mechanical school of conjuring, that Herr Wiljalba Frikell, a Finn by birth, and probably sprung from a race of "Schamanns," made his appearance some two years since, and people accustomed to behold a collection of shining objects that looked like the stock-in-trade of some colossal silversmith, were surprised to find an unassuming little gentleman stationed behind an ordinary table, and prepared to1 amuse them with the aid of such simple expedients as hats, handkerchiefs, and goblets. We do not mean to say that Herr Frikell's tricks derive no aid whatever from mechanical contrivance, but merely that mechanism is not obtruded, and Is but an accessory to sleight of hand.

The series of performances which he commenced on Wednesday, and which are to terminate with the present week, are characterised by the melancholy word "farewell;" and Herr Frikell, to take leave of his many patrons, chooses a wider field of operation than any in which he has hitherto appeared. Leaving the Polygraphic Hall, he occupies the lafge room in St. James's Hall, where he has hitherto been visited by a numerous body of spectators.

Belfast{From our Correspondent).—The Classical Harmonists' Society performed Judas Maccabarus on the 31st of January, and gave an opera recital on the following night. Der Freischiitz was the' opera selected for the honour of being the first ever produced in this manner at Belfast, and we are glad to say the performance was most successful, and has created quite a sensation. The principal singers were, Madame Weiss, Mr. E. J. Wells, Mr. Benson, and Mr. Weiss—the parts of Cuno and Kilian being taken by members of the Society. The local band was largely augmented by gentlemen from London, Manchester, Dublin, &c, and was, perhaps, the finest ever assembled in Belfast. They played the overture and the incantation music with immense spirit. The chorus numbered about seventy voices. The audience frequently testified their delight by great applause, and Mr. Weiss was compelled to repeat the celebrated Trinktied. The Bridesmaids' chorus and the Huntsmen's chorus were also encored, the four solos in the former being taken by members of the chorus. In the second part of the programme, the duet on French horns, by Herren F. and H. Stoeckel was very remarkable. Herr Elsuer's solo on the violoncello was clever, and well received. Madame Weiss was encored in G. B. Allen's new ballad, "Dennis," when she substituted another new one by the same composer, called "Klatty." Miss Wells was encored in " The soldier tired," and Mr. Weiss in his own setting of Longfellow's " Slave's dream." Mr. Benson only escaped an encore in "The meeting of the waters," through the lateness of the hour—nearly half-past eleven, at which time scarcely any one had left the hall. The National Anthem brought the concert to a close. Mr. Allen was conductor, and Mr. H. Loveday leader.





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MUSICAL DIRECTORY, REGISTER & ALMANAC FOR I860.—Contents: Almanac with musical data; list of musical societies throughout the kingdom; musical transactions of the past year; names and addresses of professors, music-sellers and instrument makers; and li-t of music published between the 30th November, 1858, and 30th November, 1859. Price Is. 6d. ; per poBt, Is. 8d. Publishers: Rudall, Rose, Cart© nud Co., 20, Charing Cross, 8.W. ; nud Keith, Prowse and Co., 48, Cheapsidc, E.C.

FERRARI'S WORK ON THE VOICE AND SINGING, price 8s., may be had at his residence, Devonshire-lobge, Portland-road, Portland-place, and at all tho principal music-sellers.

"Of all the treatises on the cultivation of the voice that have appeared for maay years, it is the most sensible, conciso, and useful."—Diiily Neirt.

"There is more sense in this work than we find in nine out of ten publications of a similar kind."—■Athmawm.

"Here is a really sensible work."—Musical World.

Just published, in post 8vo., cloth,

ACOLLECTION OF WORDS OF 2,270 ANTHEMS, with 4.12 Biographical Accounts of Authors, &c. By B. St. J. B. Joule, Esq., Fellow of the Genealogical and Historical Society of Great Britain, and Honorary Organist of St. Peter's Church, Manchester. Price (is. 6d. The Author will be happy to make arrangements for the supply of a number of copies to any cathedral, or other church, either in cloth or she ets.


JOY'S PATENTS, 1856 & 1SG9.


CAN be applied to blow the bellows of Organs and Harmoniums wherever water at a pressure can be obtained.

For price and particulars of Organ Blower apply to CARRETT, MARSHALL, and CO., Sun Foundry, Leeds, solo authorised makers and agents, or to DAVID JOY, Patentee, Leeds.

Ditto of Harmonium Blower, apply to BOOSEY and SONS, Holles-3treet, London, sole ng nts

Organ Builders supplied on liberal terms

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