ceedings, and to request you to accept them as a guarantee for our future ones. In three seasons we have produced four English operas and one operetta by native composers, namely-The Rose of Castille and Satanella, by Mr. Balfe; Victorine, by Mr. Alfred Mellon; Romance, by Mr. Henry Leslie; and Lurline, by Mr. Vincent Wallace. Also Martha and Dinorah, and a répertoire to whose merits the public approbation has been the best test.

"Again we request English composers, who have works complete, or in a state of preparation, to acquaint us with the same, in order that we may make our arrangements accordingly.

"We have been the means of introducing to the English operatic stage the following English artists:-Miss Parepa, Miss Corelli, Miss Pilling, Miss Thirlwall, Miss Fanny Cruise, Mr. Santley, Mr. Ferdinand Glover (an artist whose loss we much deplore), Mr. Patey, Mr. Grattan Kelly, Mr. Wallworth, Mr. Honey, &c., &c. During the three seasons we have expended, for artists, authors, rent, &c., the sum of £79,788.

"This being of a private nature, would not have been intruded by us on you, our generous patrons, but that you may know we spare no expense to please you and to deserve your kindness.

"We are delighted that through us a great boon has been re-opened to our sister and brother artists, namely, the Covent Garden Fund, which has been closed to all applications since the year 1842.

"It is with feelings of gratitude and pride we take the opportunity of acknowledging the high patronage we have received from her most gracious Majesty the Queen, his Royal Highness the Prince Consort, the Court, nobility and public, adding a double incentive to our motives, and honour and brilliancy to our undertaking, an undertaking which (if you will continue to aid us therein) it shall be the study of our lives to support-that of establishing in England a legitimate Royal English Opera.

"Trusting to find in you next season the same reciprocity to meet our endeavours that has been so liberally manifested towards us this, and with sincere thanks to all who have assisted us, without and within the theatre, we bid you respectfully and gratefully (until next October)-adieu.

WILLIAM HARRISON, } Managers."

The performances cannot be prolongued beyond Wednesday, as Mr. Gye will require the theatre for the purpose of re-adjusting it, as the Royal Italian Opera is announced to open on Tuesday, April 10th.

Glee, "Crabbed age and youth" Overture (Der Freischütz)

...

V. Wallace. Stevens. Weber.

Conductor-Mr. Henry Leslie. The orchestra deserves the greatest credit for the admirable manner in which the symphony was performed. It was one of the best things the Society has ever done. The two movements (why was not the first given ?), of Professor Bennett's Concerts, were exceedingly well played by Miss Fanny Howell, who, when she has overcome the timidity natural to early public appearances, will undoubtedly prove herself worthy of the name she bears.

The overtures, each highly characteristic of its composer, went well, and the Concert was agreeably varied by the singing of the Quartet of the Union (yet another Union!) who were encored in the glee of Elliott.

Miss Rose sang the two ballads.

Among the novelties to be produced at the next Concert,

which will be given on Monday, April 2nd, is the finale to Mr. Frederick Clay's opera, Out of Sight, of the private performances of which so much has been said in London musical circles. Miss Augusta Thompson is also to appear.

MUSICAL SOCIETY OF LONDON.

THE following was the programme of the second performance of this great Society, which, under the head of "Vocal and Instrumental Concerts," was given on Wednesday evening at St. James's Hall :

PART I. SACRED.

Anthem, "O sing unto the Lord" soli and chorus-Henry Purcell (1658-1695).

Song, "Gainst Thee, O Lord"-Beethoven (1770-1827). Prelude and Fugue in E flat, organ-John Sebastian Bach (16851750).

Motet, "O Lord, Thou hast searched"-F. Mendelssohn-Bartholdy (1807-1847). Preghiera, "Non mi lagno di morir"-Lindpaintner.

Motet, Double Choir, "In exitu Israel"-Samuel Wesley (17661837). PART II.-Secular.

Nonet (M.S.) in F minor (first time)-E. Silas.

Recit. and Air, "Why didst thou ever leave me"-Charles Salaman. Madrigal, "Merrily wakes music's measure" (Fair Rosamond) — John Barnett.

Romance, "The Last Farewell"-Frank Mori.
Trio, "The Carnival"-Henry Smart.

Solo de Concert, Violin-Sainton.

Canone, "Placido Zeffiretto" (first time)-Cherubini.
Hunting Song (Chorus)-F. Mendelssohn-Bartholdy.
Conductor-Mr. Henry Smart.

Organ Accompanist-Mr. C. G. Verrinder.

Pianoforte Accompanist-Mr. Walter Macfarren. Purcell's anthem was sung by Miss Eliza Hughes, Messrs. Foster, Wilbye Cooper, and Weiss; Mendelssohn's motet by Miss Messent, Miss Eliza Hughes, Madame Weiss, Miss Leffler, and chorus of female voices; and Wesley's motet by all the prinwritten for violin, viola, violoncello, contrabasso, flute, oboe, cipals and chorus. The last was encored. Mr. Silas's nonet is clarinet, bassoon and horn, and was executed by Messrs. Sainton, Webb, Lidel, White, Pratten, Barret, Lazarus, Chisholm, and C. Harper.

The capital madrigal from Fair Rosamond was well sung. Mr. Best played the prelude and fugue of Bach magnificently. Mendelssohn's fine hunting-song deserved a better place. M. Sainton's solo was a first-rate display of bravura playing. The hall was full, but by no means crowded, exhibiting a marked difference when compared with its appearance at the first

concert.

ST. MARTIN'S HALL.-Judas Maccabaus was given on Wednesday evening, under Mr. Hullah's direction. It was an excellent performance throughout, Mr. Hullah's First Upper Singing School distinguishing themselves more than ever by their force, precision, and energy. We hardly remember having heard them go through an oratorio so uniformly well. Even the grand chorus "We never will bow down," seldom satisfactory before, was all but irreproachable; while "Fall'n is the foe," left nothing whatsoever for criticism. The principal singers were Miss Banks, Miss Martin, Miss Mina Poole, Miss Palmer, Mr. W. H. Cummings, and Mr. Thomas. The most striking solo performances were "From Mighty Kings," by Miss Banks, and the two bass airs "Arm, arm, ye brave," and "The Lord worketh wonders," by Mr. Thomas, both artists being entitled to unqualified praise. Miss Palmer sang the contralto music with great power and expression, and Misses Martin and Mina Poole did good service as second sopranos. Mr. W. H. Cummings had not power enough for the part of Judas, and, moreover, was evidently nervous, having undertaken to sing the music at a short notice. The Hall was full, and the audience most liberal of their applause.

On Thursday evening a new choral class, numbering nearly

three hundred voices, made their first appeal, and in public. This class was established last summer for the practice of choral music, and have been studying hard since, under the direction of Mr. John Henken, who had been for more than ten years Honorary Instructor to the London Mechanics' Institution. The members, we should suppose, are gleaned from the northern suburbs, seeing that their place of meeting is the Lecture Hall, Spa Fields. Suburban, or metropolitan, however, the choral class is entitled to consideration, not only as constituting a nucleus, out of which a grand and complete choir may be formed, but as indicating special capabilities in themselves, and showing what may be accomplished in a short time by careful and sedulous training. The choral class is far from perfect; but we can call to mind no first public exhibition of a body of amateur choristers which was so successful as the trial of Thursday night. Generally speaking, the trebles and basses are too powerful for the altos and tenors, and the proper balance of tone is consequently not obtained. Of course this can be easily remedied. We have rarely heard fresher and more brilliant voices than the sopranos, and the basses are of a fine quality. The performance was divided into two parts, one sacred and the other secular. In the former the class sang the two grand choruses from Judas Maccabaus, "We never will bow down," and "O Father, whose Almighty power;" "Sing unto God" from Himmel's "Koerner's prayer during the battle ;" and two Anthems-" Awake up my Glory," by Broderip; and "The Dying Christian," by Harwood. Himmel's Prayer was encored and repeated. The secular part embraced in the selections: three part songs by Martin; Webbe's glee, "Swiftly from the Mountain's Brow," and the chorus from Masaniello, "Hear, Holy Power." The choral performances were relieved by solos, sacred and secular, sung by Miss Banks, Miss Fanny Huddart, and Mr. Wilbye Cooper. Mr. John Henken is an energetic and rather demonstrative conductor, but the singers appear thoroughly to understand and appreciate the indications of his bâton. Mr. Henken, we understand, tenders his services gratuitously in training the class a sketch of generosity seldom equalled, and which, no doubt, finds its best reward in the good result achieved. If the force under Mr. Henken's tuition have accomplished so much in nine months, what may not be anticipated from them in two or three years? Perhaps the establishment of a new Sacred Harmonic Society in the N. W. Suburbs.

BERLIN, March 8th-(From a Correspondent).-So surely as ignorance is accompanied by impudence, so surely is a truly genial mind, well stored and well disciplined, adorned by modesty and unassumption. The history of almost every true genius fully demonstrates the assertion. Luther, Shakspere, Newton, Beethoven, may serve as shining examples. But, apart from these greatest of the great, there are many truly genial men, whose accomplishments are not so universally known, but who ought by no means to be allowed to

"Waste their sweetness on the desert air,"

Such a one is Herr Laub, the greatest violin virtuoso of Berlin, and one of the greatest in the world, according to my judgment. This is founded on extensive experience, and a tolerable knowledge of those capabilities which form, not only a mere virtuoso (in the accepted signification of that word), but in very deed an artist. In my opinion, Joseph Joachim stands at the head of this class. If Herr Laub's taste is somewhat less severe, it is not less varied. The first of his concerts this season (and perhaps the last) took place lately in the Sing-Akademie, which was filled to overflowing.

Herr Laub gave us, first, Beethoven's violin concerto, with a cadence of his own composition. His performance showed him to be a perfect master of his instrument, while the cadence demonstrated that he was something more than a mere fingerartist. That the cadence is, to a certain extent, in the modern style, need hardly be said; nevertheless, it was finely characteristic of the whole, and well developed, from Beethoven's own motives; a Polonaise, for violin and orchestra, which followed, only served to strengthen my opinion of Herr Laub's talents. To

my thinking, however, he has here studied modern effects to the disadvantage of the more classical style. Two really salon pieces were well adapted to send the audience away full of admiration at his technical skill. One was an air hongrois, by Ernst; and the other a rondo by Bazzini. In the former, one was enabled to judge of Herr Laub's masterly manipulation, and in the latter of his freedom of style and his admirably bowing. I never had the good fortune to hear Spohr play; but, to judge from Mr. Blagrove, his school of bowing must be the one followed by Herr Laub. The programme was interspersed with a couple of songs and a piano solo. Fraulein Hebbe (a Swedish cantatrice) failed to do justice to the songs, and Herr Dreyschock gave a splendid performance of the G minor concerto of Mendelssohn. The press has been unanimous in his praise, and the court has not been backward in paying its tribute of admiration, the Prince Regent having conferred upon him the order of the "Red Eagle." If we are rightly informed a similar honour has been shown to the pianist Dr. T. Kullak.* It is to be hoped such facts as these will not pass unnoticed at head quarters elsewhere. At the last symphony concert of the Royal band, the music to Gluck's Orpheus was performed. Notwithstanding the favourable manner in which it was received, I cannot call the choice judicious. Gluck's music is always beautiful, but th scenic effects are absolutely necessary. Those who had often heard the work within the same walls in its entirety, could not feel perfectly satisfied with the result. The whole opera would, I presume, have been given, were Mdlle. Johanna Wagner not temporarily incapacitated from taking her rôle. The other pieces were Mendelssohn's magnificent overture to Ruy Blas, and Bethoven's second symphony, It need scarcely be added that everything was superbly executed. With such a band, and Taubert at its head, it could not well be otherwise. The pleasure one derives from these rare concerts would be increased, if the directors would not lose sight of the truism, variatio delectat. The finest music may become monotonous by too much repetition; so it is here. Why can the powers that be not take a hint from our Philharmonic, and introduce a vocal piece or two?

Our Princess was present with her Royal Consort, and kept her seat till the last note was played-an example which many less august personages did not follow.

A Mademoiselle Moesner has been giving several concerts at the Sing-Akademie, which, in a pecuniary sense, have been decided failures; but the contrary in an artistic sense. Her instrument is the harp, upon which she produces effects which must be heard to be believed, It must have been disheartening enough to her to have had such scanty audiences; but with her personal attractions and her talent, which is undeniable, she may feel sure of ultimate success. hence on a tour through Germany.

She starts

The Dom-Chor has been giving three extra soirées, which have only served to strengthen my opinion as to the incomparable excellence of this renowned body of choristers. The chief director (Neithardt) is suffering from severe indisposition, and the choir may flatter itself that its second director (Herr von Herzberg) is no unworthy substitute. The following was the programme of the last concert.

1. Gloria... 2. Crucifixus 3. Agnus Dei

4. Sonata, Op. 29, G major

5. Requiem Eternam

6. Motet ...

7. Chorale

8. Motet ...

...

...

...

Palestrina,

Palestrina,
Caldara.
Beethoven.

Nic. Jomelli.

J. S. Bach.

Melchior Frank. Schicht.

Dussek.

Mozart.

A young composer had just been introduced to the public, whose future career, if rumour is to be credited, will be worth looking to. He is called Heinrich Bellerman, son of the professor of that name. He directed a number of his own com

*Your Parisian correspondent is in error in calling Theodore Kullak, pianist to the King.

positions in the Sing-Akademie, the chief of which was a setting of Goethe's Mahomed.

More important for the musical world, however, than Bellerman's production, is Herr Blumner's new oratorio, Abraham, which was performed, for the first time, on Thursday last, and which is to be repeated this evening. A detailed account of the performance we must postpone till our next, and will dismiss it now by saying, that it has been unusually well received; in fact the critics are unanimous in its praise.

At the Royal Opera nothing new. Graf Redern's Christine was, however, given on Sunday, for the third time, with the substitution of Madame Köster for Mddle. Wagner as the heroine. The change has given great satisfaction; and will in all probability save the opera from a doom we most sincerely believe it does not deserve. At the Victoria Theatre, Mdlle. Artot continues to attract full houses. Il Barbiere has given place to Rigoletto, in which Signor Carrion is very effective. There is a sad want of good male singers at the opera, particularly of tenors and basses. In conclusion, it is painful to have to record two sad accidents which have happened at the opera. In the first case, a member of the ballet, being the outside of a semicircle which was swinging round, could not hold fast her partner's hand, and was consequently precipitated into the orchestra. She providentially fell clear of all the internal arrangements, and escaped with very slight injuries. The audience was much more alarmed than she was hurt. The second case has terminated more fatally. Just before the rise of the curtain a few nights ago, a slight commotion was heard to proceed from the stage. The audience, unaccustomed to such an event, for matters are marvellously quietly managed generally, seemed a little perplexed, which vanished when the curtain had once risen. In those few minutes which had elapsed, Fraulein Holcke, of the ballet, had met with a fearful death. It appears, in passing some lamp in the coulisses, her dress had caught fire, and, nothwithstanding every effort to extinguish the flame, the poor girl was fearfully burned. She was at once conveyed to the hospital, where some hopes were entertained that she would survive. This inspired the intendant of the opera to publicly express a hope that she would soon be able to resume her duties. A change, however, for the worse took place on Sunday, and, after fearful suffering, she died on Monday of lock-jaw. The Princess of Prussia, and the public generally, have expressed their deepest sympathy for the unfortunate girl's relatives.

COUNT REDERN'S NEW OPERA CHRISTINE. BERLIN (Communicated).The event of the last few weeks has been the production of Redern's new opera, Christine, at the Royal Opera-house. It took place on the 17th ult., since which time it has been performed but once, and that for the last time, according to some very wise heads out here, who predict a thousand different things that never come to pass. Count R.'s work had so long been the subject of talk in the art circles, that we were not at all surprised to find a full house. It was no ordinary audience either, but as select and aristocratic as ever assembled within the walls of that world-renowned establish. ment. Nearly all the members of the Royal Family, of the "House of Lords," of the extensive nobility in general, and every one curious in the musical art, were to be found there in common. Doubtless, different motives had drawn many to the spot, some going because of the novelty of the thing; some to see the fine folks, without any reference to music whatever; some with no other object in view than that of grumbling, and finding fault, as the sequel will show. For our own part, we went with none of these ugly intentions, but solely and purely, in as unbiassed a state of mind as possible, to listen and profit by a new creation in art of no trifling pretensions. A little behind time, Herr Taubert entered the orchestra, and "went in" immediately for the overture. It was curious to observe the different effects produced upon it the audience. Impressions more agreeable than otherwise, it was plain to see, had been made on some, the unsavoury quality of which sat unmistakeably reflected on the soul's mirror. The majority were pleased, however, and a crash of applause followed, highly flattering to the composer. But silence! Taubert is tapping with the tip of his more useful than ornamental bâton at the prompter's box before him, and the curtain rises amidst breathless silence. The plot is so simple and comprehensible, that we prefer following its straightforward course, as it opens out to us in the progress of the piece.

The first scene, then, introduces us to the sea-shore "somewhere" in the north. All is life and animation. There you have sunburnt maidens making, repairing, and vending nets, and other articles of marine "furniture." There, on the left, a dozen "duffers" are engaged in unloading affishing-smack, the weather-beaten crew of which join some of their fraternity in draining a barrel, which the forethought of the landlady of the little inn hard by has placed there. After the contents of the said barrel have had the desired effect, a jolly bacchanalian chorus bursts forth, which is well written, and in every respect effective. The landlady herself (Madame Tucsek) then steps forward, and in sweet little recitative tells her kind supporters to sing and be cheery as much as they like, but not to forget the while to drink lustily. They express their agreement thereto in a racy little strophe, and then, with nothing like reluctance, act in accordance with Madame's wishes. During this time a young marine officer (Arvid, Herr Worworsky) strolls in, and treats us to a touching song about the pleasures of Vaterland and home. As might naturally be expected, he sings the praise also of her whose like the whole world, &c., &c., &c. His pathetic strains fail to create any serious effect on the jovial crew around him, short refrains from whom (on quite another subject) serve to heighten the effect of Arvid's song. Suddenly a scream for help is heard, and the landlady rushes in in breathless haste to announce the running down of a ship and peril of the passengers. The tables are now really turned. Mirth becomes earnestness, and the confusion which ensues has given the composer the opportunity of plying "storm effects," which he has done to good purpose. Arvid makes a Curtius sort of leap into the sea, and swims back to shore in a few minutes with an the few minutes spoken of is something terrible to the audience, and The excitement during apparently lifeless female form in his arms. apparently much more so to the people on shore, who give vent to all sorts of hopes, and prayers, and fears. On the safe return of Arvid, they demonstrate their gratitude by singing manfully a short, wellconceived, and characteristic chorus:—

"Preis Dir, o Gott, der Hülf' in Nöthen sendet!"

The exertions of the females to restore animation in the rescued passenger are at last successful. The first object she casts her eyes on is Arvid, to whom she whispers, "Hide me, and let no one her caution is quite superfluous. "Tis, in fact, Christine, the Queen know who I am." Now he has not the remotest notion who she is; of Sweden herself (Madame Wagner). How she comes to be navigating the salt sea in this style, Herr Tempeltey (the poet) is much more likely to know than ourselves. Too much of a gentleman not to respect the feelings of a lady, Arvid consents to keep a secret he knows nothing of, and the landlady then takes Christine away under her care and protection. Arvid orders in a new barrel (what are bottles to a sailor!), and the merriment is resumed by the chorus singing to the praise of the fearless rescuer. There are certain crude changes in this chorus which mar the effect sadly; nevertheless, there is much clear writing in it, and, what says more, much music; this is followed by a ballet, in which something vastly like our sailors' hornpipe occurs. Ye god-like shades of Lydia Thompson obscure such a violation of your sacred rights from our bewildered vision! A new character, in the person of a nobleman of the Swedish realm, Count Löwenholm (Herr Fricke), makes his appearance during this ceremony, This same count is the foster-father of Arvid, with whose daughter, Ella (Frau HarriersWippern) he is betrothed. After a little recitative, in which the Count welcomes his quasi-son home, he tells him that through the influence of a deadly enemy he has been banished. A very expressive duet follows, in which both swear revenge for this cruel sentence. After various efforts, they learn that the Queen is this enemy. While further imparting certain information to him not very favourable to her Majesty's character, she makes her appearance in the garb of a young officer. Löwenholm, fearing that his maledictions have been thus overheard, is for killing him on the spot; but is prevented by his declaration of kindred feeling of hate and revenge against the Queen. This forms the burthen of a most charming trio, which, in point of vocal as well as instrumental beauty, will stand comparison with any modern music that we know of. It is the gem of the opera, to our taste, and was loudly applauded at its conclusion. A chorus follows, singing in praise of the ruler of the realm, &c., &c. This is just one of those picces for which the whole opera has been condemned for want of connection. It stands indeed in no sort of relationship to what precedes it, and to our mind the opera would gain something by its expunction. At this point a body of soldiery enters, and commences a scarch for Löwenholm, who is on the point of being taken, when the Queen calls her captain, and, by the magic power of a ring she wears, releases Löwenholm from further molestation. The first act closes rather noisily by the chorus singing a masterly piece of choral

writing in praise of union and peace, with which is cleverly interwoven a trio by the Queen, Löwenholm, and Arvid, expressive of each other's doubts what the effect of the unexpected intervention will be, and speculations concerning the rank, &c., of the supposed young officer. The ensemble is striking, if only on account of the noise made. It is a pity this close is so fully instrumented. The whole chorus-to the minutest progression-is laboriously worked out, and convinced us at least that Redern's pen can make some master-strokes at times. The curtain falls, as the last strains of the chorus die away, and as the soldiers depart in military order. This situation is very effective, and gives evidence of judgment and matured reflection.,

The second act opens with a chorus of female voices. It is in praise of beauteous nature, and has a charmingly pastoral character. We are thus introduced to Ella, or rather she to us. In company with Arvid, she sings with him a duet, the refrain of which is his safe return and the prospect of future joys. To our thinking, the composer has been here least happy in his efforts. He appears not to have had sufficiently definite ideas of what he wanted to pourtray in tones. The remainder of the act is devoted to the concocting of a plot against the Queen and throne. The finest movement of the whole is the oath of the conspirators. It is a unisonic phrase of no great length, but great power and and effect. The whole arrangements are completed, and the conspirators are just about to proceed to active measures, when a body of armed soldiers burst into the room, and demand of them in the name of the Queen to lay aside their arms and vicious intentions. During this operation, performed, as may be supposed, with a very ill grace, the curtain falls on act the second.

The third and last act shows us the Queen in her royal capacity, surrounded by the usual number of well-got-up ladies in waiting, lords of the, &c., &c. After dismissing her attendants she unburdens her soul, and acknowledges two very startling circumstances, firstly, that she is tired of the " cramping crown;" and, secondly, that she is in love with Arvid. The ballad form has here been employed with the utmost success. The composer has been fortunate enough to create a beautifully plaintive melody, and to avoid damaging it by overloaded and far-fetched accompaniment.

Poor Ella, who comes to petition for her imprisoned lover, meets with a decidedly cool reception, in fact, it is only on the promise of renouncing him altogether that the Queen promises to spare his life. There is here plenty of opportunity for dramatic display, both for the composer and executant. The contrast is very striking: on the one side, the brutal outburst of triumph when the Queen has wrung the cruel resolution from her victim, and the heart-rending sobbings of the other over her cruel fate. It is a grand dramatic climax, in fact, and did not fail in its effect either on the part of the singer or the public. Ella's departure from the presence of the Queen with the words

"O Herz, uns soll dein Schlagen"—

is as beautifully conceived as carried out. Overjoyed at her success, the Queen scarce suffers Ella to be clear away, before she summons Arvid, and confesses her passion for him without reserve, adding, of course, the comforting remark, that Ella was unfaithful, &c., &c. Arvid stands aghast at this bewildering change o'er the spirit of his dream. However, he defeats the selfish ends of her Majesty by vows of eternal fidelity to Ella, and, finding herself defeated here, she sends for her counsel, Rinsfelk, and, in giving Ella to Arvid, pardons the conspirators, and abdicates the throne in favour of her cousin "Charles Gustave." The whole closes with a chorus and trio by Ella, Arvid, and Löwenholm, in praise of her Majesty's virtues, &c.

Such is an outline of Count Redern's new opera Christine. What remains to be said of the music can, fortunately, be said in a few words. It betrays throughout considerable melodic talent; judgment in the employment of the instruments; a thorough comprehension of the human voice, and its natural capabilities; and lastly, a more than meagre acquaintanceship with the intricate laws of polyphonic writing. It is the misfortune of the composer, however, to be of noble birth, and to this fact alone we attribute the fate which seems to have fallen to the lot of his maiden opera. Almost without exception the blindly biassed critics have "cut" it up. One thinks it vile presumption and abuse of power to have ever produced such "stuff" at all, etc. Another pities the singers who are compelled to learn "rubbish," etc., of this calibre; pities the public for having found any good point in the whole work, and closes his splenetic effusion by calling on heaven to forgive him for the three wasted hours, etc. composers are fit subjects for St. Luke's, etc. these are what these gigantic scribes call unprejudiced remarks! Only one (Rellstab) criticises in the spirit of a well-wishing artist and of a

Another hints that such Such like criticisms as

gentleman. He does not overlook the weak points, nor forget to say an encouraging word concerning the good ones. Here, however, just a mysteriously as in Richard the Third, we are told :Aunt Voss of Berlin is not so bold,

For Rellstab, thy critic, is bought and sold!

And all these outpourings of bitter malice, simply because the.com. poser of the new opera bears at the same time the title of nobility and that of the intendant of the king's chamber-musicians! In asserting that had the ink proceeded from the pen of a mere plebeian author, it their selfish political opinions, and suffered them to gain the better of never would have been produced where it was, etc., they have betrayed their judgment; and yet these very men cry loudest for a clear distinction to be kept between mean, worldly, political life, and the more holy, nobility as such, but far be it from us to forget the debt of gratitude more ennobling pursuit of art. We have no striking partiality for the artandartists owe to those whom fortune has been pleased so to smile upon. In conclusion, we would just say to the composer of Christine, pursue your artistic career without fear of such manifestly one-sided attacks as you have been lately subjected to, not forgetting, however, to profit by the well-meant, and gentlemanly counsel of the true art-critics. To the Berlin critics, and to the critics in general, we can only say, be wary in putting out altogether the fire of any artistic spirit. Leave but After being once cliecked, the flame may burn the brighter; extinguish one spark, that animation may not be beyond the pale of possibility. it, and it is dead for ever. Admonish as you will, but always as gentlemen, and rather endear the artist to you by your friendly counsel, than dishearten and disgust him.

MOZART-CHILD AND MAN. (Continued from page 178, Vol. 38.) 77.

The Same to the Same.

A Country House near Bologna, August 11th, 1770. We are living here in the house of the Marshal Pallavicini in a most princely manner; we have a valet and a footman always at our orders, the first sleeps in our ante-chamber, so as to be always within call; we have the coolest rooms next the Sala terrena. The young Count, who is exceedingly well brought up, and has much talent, is the best of friends with Wolfgang, who loves him tenderly. They never allow me to stand, they insist on my being seated on one chair, with my leg supported on another. Indeed, to-day, in the chapel, during mass, which is performed every day at noon, two chairs had been thus arranged for me. The young count, who is only the same age as Wolfgang, is already Chamberlain to the Emperor, and he assists in the mass, after which they say the chaplet, the litanies, the Salve Regina, and the De Profundis.

Wolfgang goes out in the carriage with the old countess and her son, I with the old count. We shall stay here until my leg is quite healed.

78.

The Same to the Same.

Bologna, August 21st, 1770.

We are still in the country, at the Croce del Biacco, which belongs to the Count Bolognetti, but which has been rented of him for several years by Count Pallavicini. The 30th they will celebrate in a magnificent manner the annual fête of the Philharmonic Society of Bologna; there will be high mass, vespers, &c.

P.S. from Wolfgang.-I am still living, and always gay; to-day I had a wish to ride on a donkey-it is the fashion in Italy, so consequently I thought I must try it. We have the honour of knowing a certain Dominican, who passes for a saint; as for me I don't believe a word of it, because I see him take, at breakfast, first a good cup of chocolate, and then on the top of that, a large glass of Spanish wine. I have had the honour of eating in the company of this saint, who, besides drinking freely during the repast, finished it up with a large glass of the strongest wine, two good slices of melon, peaches, pears, five cups of coffee, a plate of little cakes, and a lemon ice. Perhaps he did all this on a system of "mortification," but yet I should have some trouble to believe that; it would be too much at a time, and then, besides his dinner, he takes too good care of his supper.

* "Tante Voss," the popular name for the newspaper.