opinion became prevalent that he was a rude and wild genius, who poured forth at random, and without aim or object, his unconnected compositions. The difficulty of understanding him rendered it impossible to perform his works with fidelity. His fame did not break forth into full glory till after his death. Since then it has but increased in lustre with the course of time. Even the rivalrous efforts of both opera houses, last season, did not yield a true representation of the Fidelio. Some time must yet elapse ere "a consummation so devoutly to be wished for," can be accomplished in this vast and wealthy metropolis. Nor has the Philharmonic Society attained the glory of rendering a perfect performance of the "Choral Symphony," the last and the greatest of these works by the greatest man of this century. To the minds of some of the members of the Philharmonic Society, the "Choral Symphony presents nothing more than a chaotic confusion of sounds, rudis indigestaque moles.*

"

These observations have grown to such a length, that we must defer our analysis of Mr. Silas's work for a future number. In the meanwhile, without exposing ourselves to the lues Boswelliana, a disease said by Macaulay to infect those who, in admiration of some idol, proffer their praise in such indiscriminate abundance, as Boswell rendered to Johnson, we may consistently aver, that no sonata possessing the same high promise, and deserving the same claim upon the attention of connoisseurs and artistes, has issued from the press since the publication of the sonatas of Beethoven. We sincerely hope that a composer so young, enriched with such large acquirements, and gifted with such rare powers and surpassing abilities, will neither seek nor shun distinction, and that his genius may find fame only as he can meet it in his progress to the highest attainment of his art, for a few such works as this sonata, must bear the name of the composer to a bright immortality.

players we have in Manchester; then the strings comprised such men as C. A. Seymour (leader), Conran, R. Andrews, the brothers Mollenhauer, Baetens, Lidel, Thorley, Waud, Gledhill, &c, &c. We never heard theinstrumental accompaniments better given-the chorus was numerous and effective--the principal singers were Miss Shaw and Mrs. Thomas, Messrs. Perring and Delavanti (the regularly engaged principals at the "People's Concerts "), to which were added, on this occasion, that popular favourite, Miss Rebecca Isaacs, and Mlle. Carolina Beer. When we add that Mr. William Barlow presided at the organ, and that Mr. D. W. Banks conducted in his usual energetic style; it may be readily believed that the performance was very good-and the crowded attendance will not be wondered at. We were most provokingly late (thanks to the ladies and Christmas parties!), by which we lost the beautiful introduction: that delicious chorus, "The harvest now is over, the for aid." We were still more disappointed at missing Mr. Perring's summer days are gone," and the duet, "Zion spreadeth her hands recitative and air, as "Obadiah," Ye People," and "If with all your hearts," which, we believe, he sang very nicely, and with true devotional feeling. The double quartett, "For he shall give his angels," was just concluded as we entered the hall; and the first thing we heard was the episode or scene with the Widow and Elijah, by Miss Isaacs and Delavanti; it was the first time we had heard Miss Isaacs in sacred music, and she succeeds in that, as in everything else she attempts. There was the same careful attention to dress and appearance, comely and appropriate to the sacred Oratorio, as we have seen her display in the widely different style suited to such characters on the stage as the Wili bride or the Bohemian girl. Her singing too was marked by the same care and fitnessand she did all she had to do admirably; and, in the difficult air, Hear ye, Israel," she fairly astonished us. The last singer we had heard in this" aria d'abilita," was Jenny Lind; and we were afraid it was beyond Miss Isaacs's powers, as it is too high for her register. Where there is a will, a pains-taking, and a steadiness of purpose, much may be accomplished that, to ordinary perceptions, appears impossible. Miss Isaacs's triumphed over all the difficulties, and gave such a spirited delivery to the fourth passage, commencing, "I am He that comforteth," that she electrified the whole audience, and received a most unanimous encore. Mr. Delavanti was evidently rendering the part of Elijah under difficulties; he does not possess the power or depth of voice, the elevation or commanding dignity of style, to give force to this arduous and trying part. We were pleased, however, with the sensible delivery he gave to the numerous recitatives; the immensely difficult air, "Is not his word like a fire?" he very judiciously omitted. Still FREE TRADE HALL-Mendelssohn's Elijah-Christmas day. the part was too much for him, as he showed symptoms of hoarseWe were induced by the kind invitation of H. B. Peacock, Esq., ness in the latter part of the oratorio. Mdlle. Carolina Beer has the spirited projector and chief proprietor of the "Concerts for a rich and powerful contralto voice. She sang for the first time in the People," to depart from our usual practice of spending the English on this evening. She had but two songs, "Woe unto evening of Christmas day at home, and to go and hear the Elijah them who forsake Him!" and the beautiful and ever popular, "O, instead. To say we were never more gratified in our lives would Rest in the Lord." She was encored in both; and richly did she be untrue-we have heard a greater performance even of Mendels- deserve the compliment, for we never heard from any one more sohn's great work--but that we were more highly gratified than we true or fervent expression in the exquisite morceaux of Mendels expected, is true enough; we were delighted to see so many thou-sohn. The like favour was accorded as usual to that tit bit-the sands, as were assembled in that vast hall, listening to such elevat- unaccompanied trio-"Lift thine eyes;" although we have heard ing music as the oratorio of Elijah. There were evidently many it go better; Miss Isaacs was rather too powerful for Miss Shaw and parties from the neighbouring towns and villages, who had taken Mr. Thomas. Mr. Perring wanted power to make the fiue tenor advantage of its being a general holiday to come and hear it. The song, "Then shall the Righteous Shine," effective in the hall, reserved seats were all occupied, and the galleries and body of the above the full orchestra. Miss Shaw was not quite equal to lead hall quite crammed full. Mr. Peacock certainly deserves great the quartett, "Holy, holy is God the Lord!" The chorusses that praise for the care and pains he must have taken to produce the we heard went very well, especially "Blessed are the Men,' ," "Baal, we Oratorio in so complete a manner; and, at the same time, at so cry to thee," with the subsequent responses of the Baalites and moderate a charge for admission (the prices being 2s. 6d,, 1s. 6d., the Prophet Elijah, "Be not Afraid," and all the chorusses, and 18., only). The band took us by surprise-we did not expect except a slight hitch in the beginning part of "Thanks be to God," to see so full a complement, or to see so much talent amongst it— and the very difficult passage in "Behold! the Lord God passed there were the usual wind instruments, all taken by the best by! Mr. Seymour, by the way, deserves especial praise for the beautifully delicate manner of his giving the obligato bit for the first violin, at the words, "And after the fire there came a still small voice." Lidel, too, was first rate in the violoncello obligato to the air, "It is enough, O Lord."

MUSIC AT MANCHESTER.

(From our own Correspondent.)

S. K. E.

As it may not be generally known, it is but an act of justice to state that this symphony was composed at the request of the Philharmonic Society, and the commission was endorsed by a munificent sum. For this and other occasional acts equally laudable and tending to the protection and advancement of music, we know we owe a deep debt of gratitude to the Philharmonic Society; and, therefore, we shall ever feel an interest in its welfare.

Altogether, the oratorio was a very great treat on the evening of Christmas day, for the holiday folk, and must have sent hundreds delighted to their homes.

But to cover all this, a notice has just appeared in a paper here, lauding a Mr. Yates (I believe a clever singer). It states that most of our counter tenor singers, even those of highest reputation, sing chiefly in falsetto, that Mr. Yates not only reaches the high" One of the Clergy." notes without piping off into a falsetto, but produces a fine, pure, and equable tone. Did not this editor know that a counter tenor voice is a fulsetto, and not a distinct voice? it is the voice of youth | retained in manhood. The falsetto possessed by tenors and basses is the boy's voice retained with the man's, but the counter tenor has only the boy's voice, a counter tenor is all falsetto.

Do, Mr. Editor, push your paper about as a warner against the musical ignorance now so rampant in our large and small towns. Believe me, yours truly,

To this simple and most fair condition "One of the Clergy" | feels dissatisfied; though a more appropriate must have been a would seem to object.

I do take it is as an admitted point, Mr. Editor, that the offer to re-arrange the melodies was made to Messrs. Lee and Coxhead. It is also unmistakeably conceded that Mr. Brinley Richards has not invaded Messrs. Lee and Coxhead's copyright. Thus is conceded to us, Mr. Editor, the whole point at issue, and the controversy, so far as its subject matter is concerned, terminates. I will not pause to ask whether, under the circumstances thus in evidence, Messrs. Lee and Coxhead were justified in advertising the old work as "new music." I pass on, because I have a graver question to ask, viz.: Can Mr. Leoni, with his hand upon his heart, and as in the pre-honour to announce that it is my intention to give you every desence of that public upon whose judgement he has cast himself, declare that, under the circumstances now proved, he holds himself justified in having circulated that printed letter which gave occasion to the controversy ?-a letter tending to injure a house against which it is now manifest he had no just cause of complaint -a letter which, I am instructed, would sustain an action at law, and which seems to have been put forward on the craven presumption that it would be allowed to pass without answer.

No, no, sir; there is but one way left open to Mr Leoni Lee, by which he can extricate himself from the false position in which he finds himself, and set himself right with the public; and that is by a frank and manly avowal that the issuing of that circular was the effect of proper information and due reflection: in a word, that it was an indiscretion, that, as I asserted in my former letter, "he was not well advised by those who advised him" to put that circular forward. There can no longer be any pretext for denying, Mr. Editor, that a wrong has been done. Public morality is not to be blinked by letters in the "virtuous indignation" vein; still less is it to be frittered away, and the eyes of the public blinded, by miserable platitudes, not even rising to the dignity of fifth-rate jokes. This is exactly what is not fair play.

You already have my name and address, Mr. Editor, and therefore I am no further anonymous than is also your correspondent, the self-styled champion of plain dealing.

I have the honour to be, sir,
Your obedient servant, as before,
A SUBSCRIBEr.

P.S.-You will perhaps allow me to append the correction of two or three oversights in the setting up of my former letter. In the third paragraph, "the whole quotation "should read "the hole question." In the fourth paragraph, for "the assurance that," read "to assume that." And in the sixth paragraph, instead of "for truth," the copy had "in truth."

Dramatic.

Drury Lane.-A very numerous and a very quiet audience assembled here yesterday se'nnight to greet Mr. Bunn on the commencement of his new undertaking. The theatre has been entirely re-decorated, and has a very light, elegant, and tasteful appearance. The ground colour is white, on which is wrought a profusion of gold ornaments, intermingled with a bright blue, sufficient to give relief and warmth to the general effect. The audience was at once numerous and joyful. The pit was crowded, the boxes were brilliant, and the galleries were packed with people. At seven o'clock the green curtain rose, and the National Anthem having been sung by the whole corps dramatique, Mr. Bunn presented himself at the foot-lights, and was received with cordial demonstrations of applause. He said

“LADIES AND GENTLEMEN: To use the language of one of your greatest favourites, Grimaldi, on this very spot, and on this very anniversary,Here we are again!' and if you could but be aware of the obstacles which have been thrown in our way, you would very much wonder how we got here (laughter). But ten days have passed since the parish in which this theatre stands did not contain

another such filthy dust-hole as this house in which we are assembled. I trust to your courtesy to say what it looks like now (loud cheers). The pleasing change which you contemplate has been effected by hands, but I am sure you will concur with me in thinking that hands could not have done it had there not been hearts in them. Some years ago I had the honour in this theatre of explaining the reason why I restricted the performances to ballet and opera. It arose from this, that those who wanted such entertainments were sure of procuring them at another theatre over the way. This argument no longer exists, and I therefore have the scription of entertainment that research and industry can devise (cheers). So many misrepresentations have been circulated as to my original, actual, and future intentions, that I have felt it to be due to the public and myself to state what my intentions really are. I cannot better illustrate the condition upon which my success depends, than by an anecdote which I have related on a former occasion, and in presence of another audience. Formerly there used to sit in the orchestra of this theatre a foreigner, who played the bassoon. In his youth he was an admirable performer, his notes being exceedingly mellifluous, yet audible through the whole house; but when time took those liberties with him which he takes with all, his notes could with difficulty be heard beyond the first row in the pit. The gruff old gentlemen, who for years were accustomed to take up their position in that part of the house, at last grew impatient, and roared blow louder;' the little boys in the more remote regions, took up the cry, and shouted blow louder,' till at last the poor musician turned round in anger, and, facing his audience, exclaimed, Ladies and gentlemen, it is all very well for these prople to shout blow louder,' but vere is the vind to come from (laughter)? And now, ladies and gentlemen, to point the moral and apply it to myself, I say, do me the honour to find the wind, and I will do the rest (loud cheers). I will do what I can to deserve your patronage, and, should it be granted to me, there is not a heart amongst you that will be more sincerely grateful than

mine."

Mr. Bunn has therefore, in the present state of popular feeling, prudently declined hazarding a large outlay on the "legitimate" part of his undertaking. Of the operatic and ballet department, where the hazards of the game will warrant a larger stake, we shall have enough to say by and bye. Meanwhile, we pass over the tragedy of Fazio, which opened the performances, and come at once to the festival novelty of the evening-the pantomime.

The author, for once abandoning supernatural agency in the conduct of his story, has gone to the series of prints, entitled "Industry and Idleness," from the pencil of the inimitable Hogarth. The preliminary scene alone is allegoricalthis is the abode of Idleness and Ignorance, a couple of antiquated beldames, who are discovered rejoicing at the extent of their dominion in the world, when they are interrupted by Industry and Knowledge (the Misses Coveney), who dispute their right to the government of the rising generation; but their own more enlightened policy, the story begins, and we after a change, in which they exhibit the beneficial effects of Drone (Mr. H. Payne), the two apprentices, plodding through are introduced to Toby Cricket (Mr. H. W. Payne), and David the city to the house of their employer. This scene, which is "the city side of Blackfriars Bridge, in 1751," is one of the most interesting in the pantomime. It shifts, by a dioramic movement, to the sign of "The Golden Tea Kettle," where the two 'prentices meet their future master. In the scene of " the double-bedded room "Mr. Payne excites the risible muscles of the audience by the process of making his " Night Gear," and getting into bed, where he and his companion are visited in a dream by "Visions of the future," depicted in transparencies of some of Hogarth's prints. The scene of "The Shop," which follows, has been constructed to display the singular powers of pantomimic humour

possessed by Mr. Payne, who goes through the whole begin at a slapping pace, and, as we observed to a friend seated process of opening and sweeping the shop, serving numerous near us, must be gifted with no uncommon talent to keep their customers, and finally, dancing a Pas de deux with the wind for the finish. Our previsions were realized; they flagged fair Jemima, his master's daughter, all which the unrivalled not unfrequently, and were only saved by an excellent scene pantomimist executes with the vivacity and humour peculiar towards the end of the pantomime, of which we shall speak to him. The scene, however, is too long. Meantime, the hereafter. As we were saying, the scene opens with the idle 'prentice, having joined a gang of thieves, returns to caverns of the Nereids, where the fairy Nautila (Miss Desplunder his master's shop, and carrying off Jemima, deposits borough), is planning the marriage of Billy Taylor. Britannia her in the cellarage, where, his old companion following him, is indignant at not being consulted, and decrees that he shall Britannia was impersoa combat de deur takes place, each champion being armed with be impressed and carried off to sea. a bladder suspended by a string from a stick. Having, with nated by Miss Kate Terry, who delivered her speech with these warlike weapons, whacked each other to a stand-still, the much archness and decision; this scene was also cleverly supernatural agencies interpose, and the transformations take managed; we see a miniature of Britannia, enthroned on her place in the " Fairy Beehive." Of the jokes and hits that fol- wooden walls and attended by her trusty guard of miniature lowed some told excellently and some failed. The despatch from blue jackets, who made the air ring with their tiny voices. We Paris, where there were "plenty of balls" on the 2nd of are next introduced to Billy Taylor's emporium, in Tooley December, and "plenty of bullets" on the 3rd, was relished street, where we find him preparing for his marriage with so well that the subject might have been handled again very | Paulina (Mr. Wynne), a Bloomer, of Portsmouth. Here the safely. The best and most original hit, however, was the impressment takes place, and the scene changes to the quarter burlesque violin solo, by the Clown, which created prodigious deck of the gallant Thunderbomb, where numerous jollificamerriment, and obtained a well deserved encore. The Bloomer tions are being carried on until interrupted by the Phantom joke failed by missing a fair opportunity for some juvenile Crew of the Flying Dutchman. Billy Taylor jumps overboard, dancing, a sure card in a pantomime. Among the best of and as he can swim, lands in King Callimaco's island, where the scenery is "The Street at the West End, by Moonlight," he is about to marry the black daughter of His Majesty, but -"The great Fiz-Whistle Railway," and lastly,-"The is interrupted by the arrival of Paulina, who forbids the banns Triumph of Industry," which is the most beautiful and and shoots her faithless lover. Things are however soon correct representation of the opening of the Exhibition made square by the usual transformations into Columbine, that we have yet seen. The pantomime would be much Harlequin, Clown, Pantaloon, and Sprite; represented by improved by curtailment. The introduction, which is the Miss Leclerq, Messrs. Cormack, Flexmore, Paulo and Lebarr; best part, is too long, and the Harlequinade contains some the latter, however, having sprained his knee, an apology was dead weight which should be carefully expunged. With made for his non-appearance. On the whole, the scenery these provisos the pantomime will doubtless have a run. The of the introduction was cleverly managed, but one great performers were excellent, especially Mr. H. Marshall (e mistake was, that the first was the best; it consisted of an immense grotto, containing a vast variety of shells of all

Clown), and Miss Palser (the Columbine), who is very pretty,

and dances with sylph-like grace and vivacity.

PRINCESS'S THEATRE.-On Boxing night, the evening's entertainments commenced with the Merchant of Venice, which, to the credit of the gods be it said, was listened to most religiously from beginning to end. There was a slight attempt at uproar at the rising of the curtain, owing to the salutations exchanged between the pit and gallery, but this was soon quieted; and, barring a few oranges aimed at the gentleman in red plush, who philosophically disregarded these infringements of good taste, and went through his work of cleansing and watering the stage with the most stoical indifference, we may safely affirm that we never saw such an orderly assemblage of Boxers. It is no compliment to Mr. Charles Kean to say that he played the part of the Jew with his wonted tact and perfection. The other parts were well cast, and Miss Frankland, as Portia, was loudly applauded, as was Miss Mary Keeley, who looked most charmingly the little renegade Jessica, and sang her song so well to the taste of the audience as to elicit a universal call for repetition. The vagaries of Launcelot Gobbo found a worthy representative in our old friend Harley, and as we said before, the curtain went down on an audience in every way well disposed to be pleased with the forthcoming pantomime of Billy Taylor, or The Fling Dutchman and the King of Raritongo. The first scene represents the submarine caverns of the Nereids, considerably below" Nathaniel," as the programme has it. We have tried to guess the joke here suggested, but give it up in despair, and recommend it to the serious consideration of the author of "The Overland Route." The brothers Sala and Mr. George Ellis are too 'cute for us. The scene is cleverly painted, and the dialogue is uncommonly racy; the authors

sizes, which, by a judicious employment of reflecting the light,

presented a very beautiful picture, and gave a charming assem blage of chaste colours.

The harlequinade embraced a variety of scenes in which the prevalent topics of the day were in many instances happily introduced. We had Bramah's lock manufactory and Mr. Hobbs, the Model Farm, the Eternal Lodging-house, and the attendant Policeman paying his court to the Cook down the Area. Cheapside in a Fog was a capital piece of painting, and does the artist much credit. The grand scene of the evening was, however, "London by Moonlight." We are here introduced to the housetops, where a variety of amusing tricks are performed by the clown and pantaloon; and amongst others, a serenade accompanied by an immense caterwauling, proceeding from myriads of tabbies perched on the surrounding chimney-pots. Exasperated at last by these incessant interruptions, the clown and pantaloon seize a revolver, and climbing on the top of a sort of swivel chimney-pots, they take a circular shot at the chorus, who come tumbling down by hundreds. This scene was quite new, and was welcomed with shouts of laughter and applause; it was unanimously pronounced to be excellent, and is of itself sufficient to ensure the success of the pantomime, which was soon brought to a close by the usual display of red and blue lights which illuminate the Home of Britannia, in the floral realms of light. If we are somewhat dubious about the meaning of the last phrase, we are willing to own that the words are pretty, and like everybody else we are satisfied with the meaning of the authors, which was no doubt to please. In this they have succeeded; on the whole the pantomine was excellent, and will no doubt be largely patronised by our young friends now home for the holidays. The scenery was painted under the direction of Mr.