MR. ALLCROFT'S ANNUAL CONCERT. THE Lyceum Theatre was crowded in every part on Wednesday, on the occasion of Mr. Allcroft's customary entertainment on Ash Wednesday. The phrase "in every part" is really applicable in this case, since were not only boxes, stalls, pit, and galleries crammed to overflowing, but even the stage-excepting a few yards in front of the foot-lights, reserved for the artistswas converted into a second, or supplementary pit, and the seats there too all occupied. The programme, as usual, comprised nearly all the available talent at present in the metropolis. To show this, it is enough to cite the names of Mr. Sims Reeves, Mad. Anna Thillon, Herr Ernst, Mr. Lazarus, Mr. Richardson, etc. There were in all upwards of thirty artists-not reckoning the "Chanteurs Montagnards"-and close upon sixty pieces. It is therefore necessary merely to mention a few pieces, which were received with especial favour.

In the first part, Madame Anna Thillon sang an air from Auber's Emma, and was encored; Madame F. Lablache gave an expressive reading of Mozart's "L'Addio ;" and Mr. Sims Reeves was enthusiastically encored in "O, 'tis a glorious sight," which he sang splendidly. Upon his return to the stage at least a dozen voices called out for as many different songs, the tastes of the audience inclining to various schools; but the singer was apparently bent upon adhering literally to the call for a repetition, when a man, in loose frieze, bounded from his seat in the middle of the pit, and shouted out with stentorian lungs, "Sing what you like, my boy;" whereupon Mr. Reeves sat down to the piano and sang "My pretty Jane," the first notes of which at once satisfied the audience. The ballad was sung with irreproachable taste. In the second part, Mr. Reeves introduced a "patriotic" song-of which the words are more martial than the music-and was again encored. Miss Stabbach sang "Kathleen Mavourneen," and a ballad, which she gave in a most pleasing and unostentatious manner. Many other young ladies sang-too many, indeed, by half-a-dozen. They came in, one after the other, as if there was no end to them. We must not forget, however, Miss Fanny Ternan, who sang "Where the bee sucks " so prettily; nor Miss Rebecca Isaacs, who sang several songs; nor Miss Poole, who, forgetting her miscellaneous ambition, sang Gluck's "Che' faro senza Eurydice;" nor Miss Leffler, a débutante, who would do well, for the sake of her friends and admirers, to refrain from such things as "Ah! quel giorno; nor the Misses E. and M. Mascall, with their pretty voices and modest deportment, who would do wisely to "fight shy" of the duet from Matilda di Shabran; nor other young ladies, all of whom would have done better if they had not endeavoured to do too much.

The instrumental selection was good. Herr Ernst played twice the first time his own "Hungarian Air Variée," and the second, the "Carnaval de Venise." In both he was encored, but was discreet enough to accept the compliment and bow his thanks. He played with wonderful effect. Mr. Richardson also gave a solo on the flute; Mr. Lazarus one on the clarionet; Mr. George Case one on the concertina; and Mr. Distin, sen., one on the trumpet-each in his peculiar style. Mdlle. Coulon executed a part of Liszt's Prophète Fantaisie with brilliant effect; and Mdlle. Louise Christine was very successful in the harp solo. Between the parts the Chanteurs Montagnards sang" Partant pour la Syrie," and "La Catalane," with which the audience were delighted. The band, which was small, was not inefficient; two of Auber's overtures, selections from Norma, and the "Wedding March" from A Midsummer Night's Dream, were performed. The concert did not finish till near one o'clock.

MR. CRAWFORD, a singer of Scottish songs, has taken one of the rooms in the Regent Gallery, for the purpose of giving an entertainment, with which he has been very successful hitherto in the Store-street Rooms, and other public places. Mr. Crawford has been well received during the week at his new locale, and notwithstanding the inclemency of the weather, a full audience has attended every evening, and the approbation bestowed on his efforts, has been lavished with no sparing

hands.

DRAMATIC.

LYCEUM.-An amusing farce was brought out at this theatre on Thursday, with the title of Too Much of a Good Thing, and literally to bore the husband who loves her is well carried out, was very successful. The idea of a wife being so overfond as and is not more exaggerated than the majority of one-act farces. The manner in which the husband for a time gets freed from the connubial apron-strings is very laughable. Of course, as a counterbalance to the wife's overfondness, the husband is made to sin in another way; and so, there being things to be palliated and forgiven on both sides, an explanation settles all. The origin of Too Much of a Good Thing is evidently French. Mr. Robert Roxby, Mr. Basil Baker, Mrs. Frank Matthews and Miss Hughes, were the performers.

In

under the management of Mrs. Seymour. Two new pieces were ST. JAMES'S. This theatre re-opened on Saturday last, again produced-one, a two-act drama, entitled Clarisse; or, the Foster both adaptations from the French; but neither is likely to take Sister-the other, a comedy in one act, called Art. They are much hold upon the public, unless Mrs. Seymour's admirable acting in the second may chance to secure a "run." Clarisse has the advantage-if in this instance it is one-of being interspersed with a few light and agreeable airs, by Mr. Charles Hall, the musical director of the theatre, which, we have no doubt, would please better if better sung. As it is, Mrs. Seymour would do well to eschew singing altogether in her productions and reVivals-always excepting burlesques and travesties—until she can procure more efficient vocalists. Art, is a version by Mr. Olympic about two years ago for Mrs. Stirling. Charles Reade, of the Tragedy Queen, produced at the the last-named piece the celebrated Mrs. Bracegirdle was the Mr. Charles Reade has taken for his tragedy queen Mrs. Oldheroine, or substitute for the Madame Dumesnil of the original. field, an actress no less celebrated than Mrs. Bracegirdle. The character of Mrs. Oldfield is admirably suited to Mrs. Seymour, and was played to the life. So much vivacity, buoyancy of spirits, ease and naïveté combined, are rarely found in the pos session of an English actress. Art has no pretensions to plot, nor does it depend upon plot for its effect. Mrs. Oldfield stands out prominently, and is drawn in striking colours; but the other characters are nonentities. Art is well, even poetically written} but, we fancy, the dialogue has lost in vigour and point what it has gained in elevation. Altogether this little comedy, however pretentious and ably written, has hardly body and consistence enough for the main piece of an evening. It has been, nevertheless, received with great applause.

The company has been thoroughly sifted; but Mrs. Seymour has yet to supply the places of Mr. George Vandenhoff, Mr. Stuart, Mr. Barry Sullivan, and others. Miss Elsworthy, however, is a good substitute for Miss Marshall, and Miss Susan Elsworthy, who made her first appearance on Saturday, is very pretty, and promises to be an acquisition to the company. Miss Eleanor Bufton, by the way, is also very pretty, and consequently attraċtive.

SACRED HARMONIC SOCIETY Mendelssohn's St. Paul was given last night for the first time this year, and attracted one of the most numerous audiences of the season. The performance was generally admirable. The solo vocalists were Miss Clara Novello, Mrs. Lockey, Mr. Sims Reeves, and Mr. Weiss. Among Clara Novello; "But the Lord is mindful of his own," by Mrs. the points were the aria, "Jerusalem, Jerusalem," by Madame Lockey, etc. Mr. Sims Reeves was so indisposed, with cold and hoarseness, that although he manfully went through the whole of the first part, an apology was made for him at the end, and Mr. Benson undertook the second.

CHESTER MUSICAL FESTIVAL-It is intended to celebrate the opening of the Music-hall by a grand festival, on the 18th, 19th, and 20th September next. A desire has been expressed by several amateurs to form a society for the purpose of qualifying themselves to take part in the choruses of the great oratorios to be then performed.-Chester Courant.

THE NEW ORGAN AT BELFAST. To the Editor of the Musical World. DEAR SIR,-On opening the Musical World, this morning, I found in it a notice of the new organ for the Victoria Hall, Belfast. At the bottom of that notice my name is mentioned in a way which is not over pleasing as the designer of the instrument, and in a way which you would not evidently have done had you fully understood the matter. Therefore may I trespass on your valuable space, to put the matter right. In the first place, as you state that the qualities of the instrument are better individually and in combination than in most of Mr. Robson's previous specimens, I think that as that has in a great measure resulted from the instrument being built under my direction, that fully warrants a reference to my name.

2ndly. I cannot father the word teneroon, it not being on any of the stop knobs-the word doublette was used for want of a better, which if you will suggest I will immediately make use of.

3rdly. The case was made from a drawing of mine: it may not be deemed worthy of your notice, but I am not aware of any case that is very much like it, therefore it is not intentionally a copy (should it be found much like any other).

4thly. The organ would not have been tuned equal temperament, had I not strongly wished it to be so.

5thly. The lettering on the stop knobs is more in accordance with what you have urged in your columns, as I have indicated the pitch of each register by use of figures-as eight feet diapason, four feet flute, etc., and the letters cc or c to indicate the extent of each stop.

Finally, many matters of detail as regards size of bellows, case, compass, pedals, voicing, etc., etc., have from time to time, during the construction been made on my part; and therefore, without for once deeming that my humble efforts are worthy of any praise in the Musical World, I trust that as the organ itself has been deemed wortby of notice, the fact of my having been so connected with its erection will fully acquit me of any vain assumption in the matter.-I am, sir, your most obedient servant. ALBERT DAWES.

4, Tamworth-place, Crumlin-road,

Belfast, Feb. 12th, 1855.

Organist to the Belfast Classical Harmonist's Society.

WE insert this letter because Mr. Dawes seems to consider himself aggrieved by us; although, on his own showing, we really do not see how much our remarks were in fault. To follow him, therefore, seriatim :-In stating that the "qualities of the instrument are better individually and combined" etc., we imagined, and still imagine, this amelioration rather due to an improvement in Mr. Robson's notions of voicing, than to any professional superintendance he might have undergone. Secondly-Mr.Dawes tells us he cannot "father the word Teneroon," and there, therefore, that matter ends. We may as well here, perhaps, explain that the name "Teneroon" properly belongs to a small species of bassoon, now out of date, the compass of which extended to tenor C; and that this name was thrust on to the treble part of an organ double diapason, some years since, in a rabid determination for novelty at any cost; but as the orchestral instrument is a reed, and, in pitch, an octave higher than the organ-stop, appropriativeness in nomenclature would be just as much secured to the latter by calling it a Psaltery or a Dulcimer. With regard to the word "Doublette," we may explain that it is the French term for a Fifteenth, and cannot properly be applied to any two-rank stop. As Mr. Dawes solicits, at our hands, a baptism for his otherwise nameless child, we need merely refer him to the five names in ordinary use for compound stops-namely, sesquialtra, mixture, furniture, cymbal, and cornet; any one of which, except the last-which has a peculiar significance he may properly adopt for his two-rank compound. Passing over the design of the case and the lettering of the draw stops, in which Mr. Dawes is entitled to all derivable credit, we come to the last point in which he claims to have rendered assistance as to "size of bellows," etc.; and, on this, shall merely remark that the probabilities are strongly in favour of Mr. Robson's having, by this time, gained sufficient experience to enable him to proportion the bellows for so moderately-sized an organ without external aid. On such points as these, however, Mr. Robson and Mr. Dawes had better adjust matters between themselves. We had not, and have not, the slightest intention of offending Mr. Dawes; but cannot, nevertheless, retract the sense of our remark-namely, that the scheme of the Belfast organ is of a very ordinary kind, and exhibits nothing peculiar enough to mark the hand ofa special designer.-[ED, M. W.]

PROVINCIAL.

LEAMINGTON.-Mr. R. Harold Thomas's Soirée Musicale on Wednesday last was well and fashionably attended. The performances of this talented pianist, including selections from Thalberg, Mendelssohn, Sterndale Bennett etc., enhanced his professional reputation in this town, where his previous efforts had, last year, already delighted a distinguished audience. Mr. Thomas's own composition-"An April shower" and "Terpsichore"-were much admired; but the group of studies especially elicited approval, the last (Chopin's, on the black keys) being encored. Signor Piatti's violoncello solo on Linda (encored), and the singing of Miss Poole and Miss Ellen Williams, were, among the chief attractions of the concert.-Leamington Courier Feb. 17th, 1855.

HALIFAX. PEOPLE'S CONCERT.-The tenth of the present series of cheap concerts for the people came off on Monday evening in the Oddfellows' Hall. The new orchestral band was present. The pieces selected were Mozart's Zauberflöte, Herold's Zampa, with Bellini's "Vi ravviso," and a waltz and a galop by Mr. D'Albert. The vocalists were Mrs. Sunderland, Mrs. Winterbottom (of Manchester), and Mr. Lambert (of York). Mr. Dean conducted the band with ability.

YORK.-(From a Correspondent, Feb. 19th.)-The first concert given by M. Jullien in this town since his return from America attracted an immense crowd to the Festival Concert Room, on Thursday last. All the fashionables of the city and vicinity attended, and a more brilliant assembly I have not witnessed for some time. M. Jullien was received with enthusiasm. He is a universal favourite in York, and his annual coming is always looked forward to as an event. His welcome now was more than ever hearty on account of his absence last year. I need not enter into details about the concert. The selection was such as the audiences at Drury Lane or Covent Garden are accustomed to. The features were Mendelssohn's overture to Heimkehr (his comic opera)-never before heard in York-Jullien's two new quadrilles, the "American" and the "Pantomime," and a Pianoforte Concerto, by Madame Pleyel. The overture was played to perfection; and the two quadrilles were highly appreciated and applauded. The "Pantomime Quadrille" is a famous travestie, and at the same time very clever. Madame Pleyel played with extraordinary effect the Andante and Rondo from Mendelssohn's Concerto in G minor. Her performance was such as to leave no doubt upon the mind of any one acquainted with the instrument, that she is one of the most gifted and accomplished of living pianists. Miss Dolby sang an American ballad so charmingly as to elicit an encore, in response to which she gave the Jacobite air, “O'er the sea." She was also encored in Mozart's "L'Addio." Among the best performances by the band, I may mention selections from Rossini's Stabat Mater, which effectively introduced the various soloists of M. Jullien's troupe. Sig. Monasterio played a solo on the violin with fine execution and genuine artistic feeling. He is very young but, if I am not much mistaken, is likely to stand some future, day in the first rank of violinists. The concert concluded with "The Charge Galop"-a new composition from the prolific M. Jullien-a spirited dance. According to general impression, this concert was, altogether, one of the most successful ever given in York by the popular and indefatigable entrepreneur.

EDINBURGH. (From a Correspondent.)-At a morning concert held in the Music Hall, in this city, on Saturday, the 10th February, Haydn's Imperial Mass was performed with great success by the artists of the opera company, Madame Caradori, Miss Huddart, Herren Reichardt and Formes taking the solo parts. The second part of the concert consisted of a miscellaneous selection of music by the same artists, with the addition of solos for the pianoforte and violin, performed by Mr. J. Thorne Harris of Manchester, and Herr Manns of the Opera orchestra. Mr. Harris's solo was warmly applauded, and honoured with an encore, to which he did not respond, however, on account of the coldness of the room, which was unfavourable to pianoforte playing. Herr Reichardt sang a romance composed expressly for him by Mr. J. Thorne Harris, which created a favourable impression, and was repeated in accordance with the general demand. The song is well suited

THE MESSIAH AND THE CREATION.

(From an Amateur's Point of View.)

HANDEL seems to have monopolized the one subject for an Oratorio, Humanity's anticipation of its Messiah. This properly is the one theme of all pure music; this is the mysterious promise which it whispers; this the hope with which it fills us as its tones seem to fall from the blue sky, or to exhale through the earth's pores from its secret, divine fountains. Music is the aspiration, the yearnings of the heart to the Infinite. It is the prayer of faith, which has no fear, no weakness in it. It delivers us from our actual bondage; it buoys us up above our accidents, and wafts us on waves of melody to the heart's ideal home. This longing of the heart, which is a permanent fact of human life, and with which all know how to sympathise, has received its most perfect historical form in the Jewish expectation of a Messiah. The prediction and coming of Jesus stand as a type for ever of the divine restlessness, the prophetic yearning of the heart of humanity. Has any poet found words for this feeling to match with those of the Psalmist and prophets of old With wonderful judgment, Händel culled out the noblest of those grand sentences, and constructed them into a complete and epic unity. They are almost the only words we know, which do not limit the free, world-permeating, ever-shifting, Protean genius of music. Words, the language of thoughts, are too definite, and clip the wings and clog the graceful movements of this unresting spirit; she chants forgetfulness of limits, and charms us along with her to the Infinite; she loves to wander through the vague immense, and seems everywhere at once; then only is she beautiful. With the growth of the musical taste, therefore, one acquires a more and more decided preference for instrumental music rather than song; music pure, rather than music wedded with another heart, which never can be quite congenial. We prefer a Beethoven's symphony to anything ever sung, with the single exception of Händel's Messiah; in that, the words seem one with the music-as eternal, as sublime, as universal, and impersonal; they set no limit to the music, but contain in themselves seeds of inexhaustible harmonies and melodies. We could not spare a word, or suffer any change. The Messiah always must have meaning to all men, it is so impersonal; its choruses are the voice of all humanity, its songs are the communion of the solitary soul with the Infinite; but there is no duet or trio in it, no talking of individual with individual. Either it is the sublime of the soul merged in the multitude, or it is the sublime of the soul alone with God. And then its

The orchestra weaves the picture, the voices but hint its meaning; literal description of nature is carried even too far in it. Beautiful and surprising as those imitations are of Chaos and the birth of Light, and rolling ocean, and smooth meadows, and brooks, and birds, and breezes, monsters of the deep and of the forest, and insects sparkling like gold dust in the sunny air-yet often they seem too mechanical and curious, and out of the province of Art, which should breathe the pervading spirit of Nature as a whole, and not copy too carefully the things that are in it. Whoever has studied the Pastoral Symphony, or the Pastoral Sonata of Beethoven, will feel the difference between music which flows from a common consciousness (as it were) with Nature, and the music which only copies from without her single features. These pieces bring all summer sensations over you, but they do not let you identify a note or a passage as standing for a stream or a bird. They do not say: look at this or look at that, now imagine nightingales, now thunder, now mountains, and now sun-spots chasing shadows, but they make you feel as you would if you were lying on a grassy slope in a summer's afternoon, with the melancholy leisure of a shepherd swain, and these things all around you without your noticing them.

Μι

ISS BLANCHE CAPILL (Pupil of Louis Leo-Voice, Mezzo-Soprano), Professor of Music and Singing, 47, Alfred-street, Riverterrace, Islington, where letters respecting pupils or engagements may be addressed.

MR. H. COOPER, Concert Agent.-Professors and others

giving Concerts in Town or Country, may be supplied with Vocal and Instrumental Performers on applying, by letter, to Mr. Cooper, No. 44, Upper Charlotte-street, Fitzroy-square.

MISS MILNER, Vocalist (Soprano), will be happy to

accept engagements to sing at Oratorios, Concerts, etc., etc.-For terms apply to Mr. Cooper, No. 44, Upper Charlotte-street, Fitzroy-square,

Trade is for Sale. The shop is in the principal street of a large town in the North of England. The stock, which is now small, may be taken at a valuation. Enquire at Messrs. Addison and Hollier's, Regent-street.

How different the Creation! We are in another element, with another man, with Haydn, that sunny, genial busy, nature. If with Händel all is unity, grandeur, bold simplicity, universality, here all is variety, individuality, profusion of detail. If with

Händel it is aspiration to the Unknown, here it is a description of the Known. If one forbodes another world, the other lovingly reflects the hues of this world. Händel, with bold hand, sketches gigantic shadows, which lose themselves in infinite space. With Haydn everything is happily planned within the limits of certainty, and conscientiously and gracefully finished. It is the perfection of art. A work of Haydn's is a Grecian temple; there it stands, complete in itself and fully executed, and suggests no more. A work of Händel's (still more of Beethoven's) is a Gothic cathedral, which seems never finished, but becoming,

growing, yearning, and striving upwards; the beginning only

of a boundless plan whose consummation is in another world. We enjoy with Haydn the serene pleasure of doing things, the ever-fresh surprise of accomplishment. With him we round off and finish one thing after another, and look upon it and pro

MR.

R. ALFRED MELLON respectfully announces that a The first on Monday evening, April 2nd, 1855. Subscribers' names received by Messrs. Cramer and Beale, 201, Regent-street.

place during the season at St. Martin's-hall. series of Grand Orchestral Union Concerts under his direction will take

A YOUNG GENTLEMAN who has studied the Pianoforte and Organ for two years, wishes to reside for six months with a firstrate professor, to whom he will give his services in return for finishing lessons in music both theoretical and practical. First-rate testimonials given and required. Address, stating terms for board and lodging, Mr. Orlando Palmer, 1, Regent-place, Weston-super-Mare, Somerset.

An Amateur Soirée Musicale will take place on Tuesday, the 20th March, at the Hanover-square Rooms, for the Relief of the Sick and Wounded at Scutari. The proceeds to be presented to Miss Nightingale. Tickets, 5s. each, or a family ticket to admit five, One Guinea. All letters and applications for tickets to be addressed to Miss Bevington, 48, Greek-street, Soho-square.

PHILHARMONIC SOCIETY, Exeter-hall.—

March 28. The subscription to the Society-West gallery, 1 1s.; reserved area, €2 28. Subscribers now entering will be entitled to two tickets for the performance of the above date. Conductors-Dr. WYLDE and H. BERLIOZ. Subscriptions received at Mossrs. Keith, Prowse, and Co.'s 48, Cheapside; and at Messrs. Cramer, Beale, and Co.'s, 201, Regent-street.