account.

More of the old English flavour, both in words and music, which, we may add, are all the more welcome on that "Meyerbeer's Dinorah,' complete edition, for voice and pianoforte, with English and Italian Words, the English version by H. F. Chorley, to be published in Eight Parts" (Boosey and Sons). The whole of the voice and pianoforte score of one of Meyerbeer's master-pieces for eight shillings! What next? At first one would have expected to see careless engraving, bad paper, and worse printing. Nothing of the kind. The publication is as correct and as nicely got up as the matter is valuable; so that we have Meyerbeer's Dinorah "for the million" in a shape that would not disgrace the exclusive drawing-rooms of "the few." All that the publishers have to fear is that "the few " will too eagerly avail themselves of what is intended for "the many," and purchase the cheap edition to the detriment of its more costly predecessor.

"De Beriot's Seven Airs, Nos. 1 to 7, with variations for the violin" (Boosey and Sons). Here is another handsome shilling's worth, at which, or we are greatly mistaken, all amateur violinists will jump. What sound practice is to be got out of De Beriot's Airs Variés need hardly be said.

LETTERS TO THE EDITOR.

THE PNEUMATIC LEVER. SIR,-Some time ago I troubled you with a few remarks on the Pneumatic Lever, in the hopes of drawing from some of your correspondents an account of their experiences in the working of this well-known mechanism; however, excepting a well-written article from the pen of your own organ contributor, I received no reply; and although many had verbally complained, no organist or organ-builder seemed to think the matter worth writing about. This seemed strange, when it is remembered that the pneumatic action has in a manner revolutionised the whole of organ-building: nevertheless, such is the truth. I see in the World of last week (17th inst.) a letter from Mr. McKorkell; in which, when speaking of the Leeds organ (one of the finest instruments of the day), he uses this expression: "The delightful elasticity of the old action (well made) is wanting," &c., in reference to the pneumatic valves. May I ask, then, "Is the Levier Pneumatique necessarily deficient in elasticity and rapidity of utterance?" I have found it so, and many have told me that their experience of it was to the same purpose. FLUTE HARMONIQUE.

A DELICATE POINT. SIR,-Much has been said at times respecting the rights of authors and composers; those rights are now sufficiently protected, but I would ask whether, in framing the laws to give that protection, it was ever meditated that commercial interests, other than those involved in the rights which an author or composer can justly claim-and they may make too much of their privileges should seek to be able to place themselves under the same protection? I am not going to contend that an author or composer should not have the privilege of disposing of his rights to either publisher or director of any public entertainment; but I do consider it unfair and unjust for a work to be sold to two contending interests, made so by circumstances, as in the case of the opera of Lurline, where the exclusive right of performance has been secured to one party, and the publishing of the work disposed of to another, who sells it to the public. If an artist buys a copy, he cannot perform it in public without permission so to do from the party who has secured the exclusive right of performance. Here is a clashing of interests, and an injustice is done; a clashing of interests, for we all know that the greater the publicity of the work, the greater the chance of sale, but where is the publicity of a work if its performance is restricted? An injustice is done, because an artist has not the right, at least

not a legal one, of singing or performing in public a piece of music he has bought and paid for at the market value. If this right of performance be withheld, then I maintain that the music ought not to be published and sold, particularly as no intimation of such restriction of performance is conveyed to the buyer either on the music or otherwise-a work once published and paid for by the public who buy it should become public property. I am, sir, your obedient servant, 28th March, 1860. B. M.

THE JULLIEN SHILLING FUND. family of one who was the first to give the British public an SIR,-The idea of starting a shilling subscription for the opportunity of hearing for that sum the same class of music, by the same executants, and equally well performed, as had been hitherto the exclusive privilege of the wealthy, was an excellent one, and deserves universal support. Everyone said that they would willingly contribute, but a great many, I find, have omitted to do so, not from apathy or disinclination, but simply because they have not happened to pass anywhere in the neighbourhood (mostly the West-end) where subscriptions are received. I would suggest therefore that those who have this good cause at heart (and who has not?) should follow the example of the writer, and take every opportunity of personally canvassing their friends and acquaintances, by which means a considerable addition may be made to the fund.

I have since Monday last collected £1 12s. in single shillings, some from comparative strangers, whom I have only met upon business matters; but in no instance has the shilling been refused. I hope to add to this next week, and shall hand the amount over to be acknowledged in the Musical World. Yours, &c., W. W. CLEMOW. 5th April, 1860.

THE LATE M. JULLIEN. (Extract from a Letter addressed by a Medical Man to a Friend in London). He was

I WENT to Jullien's funeral yesterday with Sburied in the most simple manner. It was distressing to see a man like him, after having entertained and enchanted thousands and thousands of people by his talents, to be followed to the grave by about ten persons. It is true, if it had been more generally known, I have no doubt more would have been there. Respecting the information you require, the following is what I have gleaned:

Louis George Antoine Jules Jullien, born at Sisteron, Bas

Alpes, France, died on the 14th of March, aged forty-eight in April. He was a man of great intellectual capacity, and the power of his imagination equalled that of his herculean strength. No doubt the unavoidable reverses of fortune, particularly his incarceration in Paris, preyed deeply on his mind, as he feared that it would deprive him of the means of providing for his This circumstance he widow if anything happened to him. mentioned to me several times, and it seemed to pre-occupy his mind. His general health has been much better lately. At times he was rather exalted in his ideas, which were always of a philosophic turn. I had often cautioned him against applying himself too closely to his profession, for he would compose sometimes not only all day, but continue through the night, so late as three or four in the morning. With the exception of this, his habits were exceedingly regular, scarcely ever tasting wine, smoking, &c., &c.

When Jullien first came to Paris I attended him for a slight indisposition from which he quite recovered, and subsequently attended him. The first decided symptoms of the disease that terminated so fatally occurred about three weeks since, with eccentricities, then incoherence in his ideas. Still it was impossible to remove one of the causes of all this mischief, namely, composing and attending the rehearsals for a concert which was to take place shortly. From this state he became more and more extravagant in his ideas, until he grew into a dangerous lunatic.

After a conversation with Dr. Blanche (a very celebrated man

for those complaints), he ordered his immediate removal to a lunatic asylum. But, to spare the feelings of his poor widow, I suggested waiting another day. He had slept during the night, but in the evening he was much worse, in fact raving mad. I had him then removed to an asylum, where he had the care of another medical man, Dr. Pinel, who is likewise celebrated for all cases of insanity. He remained in the same excited state about a fortnight. I saw him several times; he knew me, but was very incoherent. During the last few hours, he seemed to have a few lucid moments. Every care and attention that was possible, he had. He received the sacrament the last half-hour, and died quite composed. He is buried at Neuilly. He was a good, honest man, notwithstanding his ruinous speculations, and very few such kind generous hearts are to be found to equal his. The fact of his giving the two last napoleons he had to a poor woman and her two children, who, she said, were starving, is sufficient to prove it.

AMATEUR MUSICAL SOCIETY.

THE concerts of this Society are undoubtedly progressing, and the committee are to be commended for the energy they display in endeavouring to impart freshness to the programmes, which have been much varied of late, and no longer exhibit that air of monotony which for some time characterised them. Let us hope their policy will be persisted in, and that the stereotyped order of Symphony, Overture, and March, may be modified by the introduction of pieces adapted to create excitement amongst the listening members. The Fifth Concert took place at the Hanover-square Rooms, on Monday evening, when the following capital selection was made :

Air-Cornet-à-pistons, " Stabat Mater "
Finale to MS. Operetta, "Out of Sight
March of the Israelites, "Eli"
Bolero," Vêpres Siciliennes "
Overture, "Il Barbiere "

"Les

Beethoven.
Rossini.

Thalberg & de Beriot.
Henry Leslie.

...

Rossini. Fred. Clay. Costa. Verdi. Rossini.

Conductor-Mr. Henry Leslie. The symphony was played very creditably, though we must not too curiously criticise the finale, which is a little beyond the capacity of our vigorous amateurs. Mr. Leslie's clever and dramatic overture has been several times performed by the Society, and on this occasion met with every attention from the orchestra. Mr. Costa's March, and a somewhat eccentric version of the overture to Il Barbiere, were both well executed. Mr. Mitford was unavoidably absent, and could not perform his solo on the cornet-à-piston. Mr. Val. Morris, in a brief and appropriate speech, stated that the band would play the overture to Le Cheval de Bronze, which gave general satisfaction. M. and Madame d'Egville deserve honourable mention; and, at the end of the Duo Concertante, were applauded enthusiastically.

The vocal music was as good as could have been desired. Miss Augusta Thomson created a marked impression, and was encored in the romance from Guillaume Tell (accompanied on the pianoforte by Mr. J. G. Callcott). Her voice is a high soprano, and the upper notes are of beautiful quality, but is scarcely equal to the Bolero from Verdi's French opera. We fully believe that Miss Thomson will, when she has overcome the nervousness natural to comparative inexperience, prove a valuable acquisition to the concert room.

A word of hearty commendation for Mr. Frederick Clay, whose finale was very well sung (by Messrs. Gordon Cleather, Charles Freemantle, Quinten Twiss, C. Stephenson, and W. H. Simpson), and loudly redemanded. We have heard a great deal of his drawing-room operetta Out of Sight, and can readily credit all that has been said in its favour, the finale exhibiting

constructive ability, good voice-writing, and well-sustained melody. Mr. Clay must work hard, and take care not to be spoiled by praise. He has undoubtedly a "future."

The room was crowded, and amongst the company we noticed the Duke and Duchess of Wellington, the Duchess of Montrose, Lady Theresa Lewis, Lady Elizabeth Bulteel, and a host of fashionables. At the next concert, which is to be given on April 16th, we read with satisfaction that Miss Cazaly is to perform Mendelssohn's pianoforte concerto in D minor.

The quintet in A major was repeated by general desire, and afforded even greater satisfaction than at its first or second introduction. Of the merits of this work, so well known to amateurs, we need not say a word. The performance was again admirable, the executants this time being Messrs. Lazarus, Sainton, Ries, Doyle, and Paque. The fantasia in C minor and the quintet in E flat were both played for the first time at the Monday Popular Concerts. The entire collection of Mozart's instrumental compositions for the chamber contains nothing more exquisitely beautiful, nor more masterly, than the quintet, which created so powerful a sensation on Monday night, that the directors would be warranted in introducing it on another Mozart night. The performers were Messrs. Benedict (pianoforte), Lazarus (clarinet), Nicholson (oboe), Chisholm (bassoon), and C. Harper (horn), who, we need hardly say, played à merveille. Mr. Benedict executed the delicious fantasia with admirable expression, and was overwhelmed with applause on leaving the platform. The sonata for violin and pianoforte, like the quintet in A major, was given for the third time, and the slow movement encored as on a former occasion, when played by the same eminent professors-M. Sainton and Mr. Benedict.

The vocal music was entrusted to Miss Laura Baxter and Mr. Sims Reeves. The last sang Handel's song, "Lascio ch'io pianga," and Mendelssohn's " Savoyard's Song," both with genuine feeling-the latter, nevertheless, somewhat too slowly -and with a voice not easily to be surpassed for quality. Mr. Sims Reeves, who is singing better this year than ever, was encored in both his pieces, Beethoven's " Oh! beauteous daughter of the starry race," and Molique's serenade, "When the moon is brightly shining," the former of which he gave with superb devotional energy, the latter with equal taste and feeling. Mr. Reeves had, however, a greater triumph in store than either. In consequence of the non-arrival of one of the performers in the quintet in E flat, the audience, kept waiting an unusual time, did not refrain from expressing their dissatisfaction aloud, when Mr. Benedict came forward, and, announcing the cause of the delay, stated that Mr. Sims Reeves had volunteered to fill up the time by singing" Adelaida." This announcement was received with thunders of applause, which, when Mr. Reeves appeared, were redoubled. Mr. Reeves sang and Mr. Benedict played the accompaniment of Beethoven's divine. song from memory, and the delight of the audience was beyond measure. Meanwhile the

CRYSTAL PALACE.-Professor Bennett's cantata (or pastoral), The May Queen, was executed on Saturday, with a band and chorus of one hundred and fifty performers, under the direction of Mr. Augustus Manns. The principal singers were Madame Catherine Hayes, Miss Palmer, Mr. Wilbye Cooper, and Mr. Santley. The execution on the whole was good, and the audience, a numerous one, appeared thoroughly to appreciate the beauties of the work. In addition to the cantata, there was a miscellaneous selection in which the band played Spontini's overture to Olympia; Mr. Wilbye Cooper sang Hatton's ballad, "Under the greenwood tree;" Mr. Santley gave Rossini's scena and aria, "Alle voci della gloria;" Miss Palmer, the air from the Prophète, "Ah! mon fils;" and Madame Catherine Hayes, Mr. Lover's song, "The two Castles" (composed expressly for her), and "The Irish Mother's Lament," the last "by desire." All were successful performances, and "The Irish Mother's Lament" was again encored.

On Monday, the series of twelve concerts for Mdlle. Piccolomini was inaugurated most inauspiciously in consequence of the unfavourable state of the weather. It rained all day with few intermissions, and the Metropolis was visited by a hailstorm in the forenoon. No wonder the concert-room of the Crystal Palace was not more than three-parts full-the wonder, indeed, was, that so many attended. Malle. Piccolomini, however, sang with as much zeal as though she were exhibiting before her accustomed thousands, and was enthusiastically encored in both her songs, "Ah, fors' è lui," from La Traviata, and "I dreamt that I dwelt in marble halls," which we never heard her sing with greater expression. The concerts during the week require no further record beyond the fact that Mdlle. Piccolomini has given two songs daily, and that Mr. Patey was the other Vocalist. Yesterday, the programme was devoted to sacred

music.

BEAUMONT INSTITUTION.-The last concert of the season came off on Thursday evening week, and was one of the best and most varied entertainments of the series. The singers were, Miss Clari Fraser, Mdlle. Vaneri, Mad. Sainton-Dolby, Mr. Morgan, and Mr. Allan Irving. We need only mention a few of the most successful performances in the programme, which extended to nearly thirty pieces. Miss Clari Fraser, Mdlle. Vaneri, and Mad. Sainton-Dolby were encored in the trio, "My Lady, the Countess," from the Matrimonio Segreto. Mad. Sainton-Dolby repeated Balfe's song, "The green trees whispered," which she sang delightfully. Miss Clari Fraser received a similar compliment in an old ditty of the seventeenth century, taken, we believe, from Mr. William Chappell's work, Popular Music of the Olden Time, called "As down in the meadow I chanced for to pass,' ," which pleased amazingly, not merely because it is a beautiful song, but because it was beautifully sung. Miss Fraser, however, acknowledged the compliment by bowing only. The same lady, to our thinking, was still happier in the old air, "When ye gang awa, Jamie," a model of Scotch ballad singing. Mdlle. Vaneri, although hardly in her best voice, gave Mr. F. Mori's charming ballad, "The May time is coming," with irreproachable expression and taste. Herr Ries executed on the violin Vieuxtemps' fantasia on 1 Lombardi, and Artot's Souvenir de Bellini. The concert terminated with Martini's laughing glee (trio), Come, merry hearts, be free" ("Vadasi via di qua," sung by Miss Clari Fraser, Mdlle. Vaneri, Mr. Morgan, and Mr. Allan Irving. Mr. Frank Mori accompanied all the vocal music.

BELFAST.-Mr. J. C. Marks, of the Armagh Cathedral Choir, has just been appointed organist and choir master of Cork Cathedral, in the place of Mr. Stevenson, lately deceased. This is one of the best appointments in Ireland, and its attainment must be very gratifying both to Mr. Marks, who is still a very young man, and to his master Mr. Robert Turtle.

PROVINCIAL.

opera, П

EDINBURGH. Last night Cimarosa's favourite Matrimonio Segreto, was performed for the first time in Edinburgh. The cast was as follows:-Carolina, Madame Lorini; Elisetta, Madame Maritini; Fidalma, Madame Vietti; Paolino, Signor Galvani; Count Robinson, Signor Baraldi; and Geronimo, Signor Ciampi. Signor Galvani, in the aria "Pria che spunte," sustained a well-merited encore. Signor Baraldi made a very creditable Count, and sang his music, as he always does, carefully and correctly. In Geronimo, Signor Ciampi has achieved another great success. It was a subtle and masterly conception, carried out with the highest artistic skill. The other morceaux of the opera which may be mentioned for special commendation were the sestetto "Che tristo silenzio" at the close of the first act, and the famous duet "Se fiato in corpo avete." Altogether the performance was highly satisfactory, considering that it was the first representation and that the music is exacting. The attendance in the boxes was very large; the other parts of the house, however, showed little improvement. At the close of both acts the performers were called before the curtain to receive the plaudits of the audience. Abridged from the Scotsman.

YORK MINSTER ORGAN.-This organ, the progress towards the completion of which we noticed a few weeks since, has now passed out of the hands of Messrs. Hill and Son, the builders; and, with the exception of some little tuning, which it is now undergoing, the instrument may be looked upon as completed. In the external appearance of the organ, however, there is a want of finish, from the side cases not being nearly filled with pipes; but this space we have no doubt will eventually be filled up, and the sides made more consistent with other parts of the organ. Three of the hydraulic engines, which are intended to work the blowers, have been fixed and used, and they have been found to work most satisfactorily. Another engine, however, remains to be put down. As this is the first instance in which hydraulic power has been applied to a musical instrument, in a public place of worship, in this city, a brief description of the engines may be of interest to our readers. The hydraulic engines were invented and patented by Mr. David Joy, of Leeds, who has, by labour and ingenuity, succeeded in adapting them to organ-blowing, and other purposes. Those in the Minster will each work a set of feeders, by no other means than the pressure of the water, by a six-inch main, from the New Water Company's works. They can all, or any of them, be started at a moment's notice, at the will of the organist, and require no further care or attention, as they are perfectly self-regulating, and, by a careful adjustment, are made to blow quickly or slowly, according to the consumption of wind required. The parts working in the water are also of such materials relatively, as not only to prevent rust, but also to promote self-lubrication of these parts by the water itself. Great numbers of these engines have now been at work, since the date of the first patent in 1857, with perfect efficiency, several of the first having been erected in the above year, in London, by Messrs. Hill and Son, the builders of the York organ, who are also erecting others extensively in various parts of the kingdom. We understand that Mr. Jones, hitherto a tuner in the employ of Messrs. Hill and Son, has been engaged to remain permanently in this city, as tuner to the Minster organ.-York Herald.

LEEDS.-(From a Correspondent).-At a special meeting of the Leeds Town Council on Saturday last, the Town Hall committee were empowered to take steps for appointing an organist at a salary of £200 per annum. During the discussion on the subject, it was stated that out of the performances on the organ given last summer by Mr. Spark, Mr. Broughton and others, a profit of £50 was made-the admission price being only 3d. One of the reasons given why it was considered necessary to appoint a permanent organist, was the jealous and envious feeling of certain musical people, who declared the organ to be a failure, when they ought rather to have blamed their own want of efficiency in playing upon it. It was stated by Alderman Wilson, on good authority, that Leeds possessed one of the finest, if not the finest, organs in the world, and at a very cheap price. Competent authorities have long urged the advisability of ap

pointing a permanent organist, who shall have full control over the instrument, instead of letting any inexperienced person tamper with such a wonderful piece of workmanship. The appointed organist will be required to give one hundred performances during the year.

The last concert of the Leeds Town Hall Concert for the season was given last Saturday evening, and was conducted by Mr. Spark. The season, on the whole, has not been quite successful either in a pecuniary or a musical point of view; and so long as the executive committee is composed of men notoriously ignorant in musical matters, no other result can accrue, BIRMINGHAM.— -A musical event of some importance took place on Sunday, March 25th. This was the re-opening of the organ at St. Philip's Church, after a thorough repair and cleaning. The organ, which is the finest in Birmingham, and one of the finest in the kingdom, was built, in the year 1805, by George Pike England, the son of the celebrated Geo. England, and the predecessor of the equally celebrated Mr. Hill of our own day. It was originally divided into two key-boards, swell and great, and consisted of the following stops :-In the great organ, open diapason; ditto (front); stopped diapason, principal; twelfth-fifteenth; sesquialtera mixture; trumpet, and solo trumpet (the last an inimitable stop). The swell contained open diapason; stopped ditto, principal; fifteenth mixture; bassoon; hautbois; trumpet, and cornet. The pedal organ had one stop of very fine open pipes, made of oak. In the year 1845, the instrument was altered and re-constructed by Mr. Hill. The old swell was made into a choir organ, and a new swell added, consisting of the following stops :-double diapason; open diapason; stopped ditto, principal; cornopean, and hautboy. The trumpet, in the original swell, was replaced by a cremona, and a wald flute was added, as was also a fine pedal-stop of 16 feet. The re-opening of this noble instrument was celebrated with a performance of sacred music, from Handel, Haydn, Beethoven, and Mendelssohn. The services were, Dr. Boyce in C, and Ebdon in C. The anthem in the morning was, "We will rejoice in thy salvation," by Dr. Croft; that in the evening, "Oh praise God in his holiness," by Dr. Clarke. The choir, which was full and complete, was selected from the leading choral ladies of the town, and Miss Poyser, a local artist of some celebrity, was principal soprano. Mr. Simons, the organist of the church, presided with the ability and excellent taste which have so long distinguished him, and drew forth, in his voluntaries, tones from that noble instrument that delighted the numerous congregation, who, till this day, scarcely believed that it was capable of producing such wondrous effects. A collection was made after each service to defray the necessary outlay incurred by the repairs.

MUSIC AND THEATRES IN PARIS.
(From Our Own Correspondent.)

March 28, 1860.

IF the problem of perpetual motion could be solved, it would be in this gay city. There seems a constant succession of excitement going on. Hardly has all one's power of admiration been called into play by some wondrous work of art-some lyrical gem, or some great architectural wonder-than some fresh object rapidly succeeds, with all the ever-changing brilliancy of a kaleidoscopic view, to efface the remembrance of its predecessor. For once, however, there is a slight repose. Pierre de Medicis, the great subject of conversation with the dilettanti of the day, has had its various merits so discussed, that of course every one eager to judge for themselves will flock to the Opera. The 130,000 francs expended in decorations are made too much of, as they will be well repaid ere the end of the season. But it is the wonderful C sharp of Tamberlik-the force, the passion with which he sends out this note-which electrifies the public at the Italian Opera. Under the aspect of the terrible Moor he has once more made his appearance amongst us. And with the Borghi-Mamo as Desdemona, the success could not fail to be great. But in the Trovatore his voice comes out as pure and sweet as the notes of a flute. One can hardly imagine the wonderful tones to which, as the opera goes on, the voice will rise. Last night he was called on after the air of "Di quella

pira," three times; he sang it twice. An accident which occurred in this Act threatened to bring the opera to an untimely end, Just as Tamberlik draws his sword to rush off and save his mother, whom he sees from the window they are preparing to burn on the pyre, Mad. Penco, who plays the part of Leonora, frantically implores him to stay. In approaching the foot-lights in one of her movements, the long tulle wedding veil she has on took fire. Mad. Penco did not perceive it, but fortunately two of the chorus-soldiers threw themselves on their knees, gathering her dress round, and extinguished the flames. It was a moment of breathless excitement in the house; and poor Madame Penco was so overcome by terror and emotion, that before the curtain drew up for the last act, the stage-manager came on, and begged for a few moments' indulgence for her. As it was, she cut out the air "D' amor sul all' rosa." It was most fortunate for Madame Penco that the dress she had on was a silk moire trimmed with ermine; for, had she worn a tulle dress, it would have been impossible to save her. There was some unknown person who performed the part of the gipsy mother; but it would be better to touch lightly on so painful a subject. Where were Madame Alboni and Borghi-Mamo? The revival of Galathée at the Opéra-Comique has brought nightly receipts of 5000 francs, so it is likely to be continued. Jocomte, with M. Faure as the hero, has also been revived with entire success. Madame Miolan-Carvalho will appear in Philemon et Baucis: the loss of her mother obliged her to suspend for a short time her performances after the Gil Blas of M. Lemet has been brought out, and she will go to London for the season. A very pretty little piece in one act and in prose, has been brought out at the Théâtre-Français; it is from the pen of M. Théodore Barrière, and is entitled the Feu au Convent. Of course, from the title, one would expect to hear a good deal about a convent: nothing of the sort. It is merely this: a young girl, Adrienne de Tavenay, has been obliged to be sent home, as the convent she was in took fire, and, of course, all the young ladies and nuns were obliged to disperse till some new abode should be arranged. Adrienne arrives at home, and finds her father, who has been all night at a ball, asleep on the sofa: ere he wakes, her fairy fingers change the aspect of the room, that was rather disorderly and bachelorlooking, into that home-like appearance that only the fingers of a woman can give a room. Her father wakes, and is equally astonished and delighted at the beauty and grace of his child, whom he had not seen for years; for, left a widower at fiveand-twenty, he had sent Miss Adrienne to a convent, and led the life of a single man since. As he sits listening to his child's prattle with delight, while she unfolds her project that he is to marry a teacher, Mdlle. Hélène, who has been like a mother to her, the recollection of a duel he is to fight this morning flashes over him, and destroys all his pleasure. He had sought a quarrel with a Brazilian, as he had made a bet at his club that before the end of the year he would fight six duels: the year will expire the next day, and the duels must be fought that morning. On leaving his child, he confides her to M. de Meriel, a young philosopher of twenty, and in case of his death, constitutes him her guardian. They are left alone, while the father goes away. Adrienne has a presentiment of danger, from her father's manner, and in seeking to calm her, M. de Meriel begins to love-at last, as her despair for her father is at its height, the door opens, and he enters safe and well. The great practical joker of the club, M. Fortemin, had resolved M. de Tavenay should lose his bet, and had challenged and fought the Brazilian in his place, receiving a slight wound; of course all ends happily, de Meriel and Adrienne are to be married the father says he will marry the friend of his daughter, Mad. Hélène. The subject may not be much, but the acting is all: Bressant is touching and charming as the father; and Mdlle. Emma Fleury as the naive and witty little schoolgirl, goes through her part with the greatest éclat. It is what may be called a "refreshing" piece, after the tirade of nonsenseof absurdities and immorality-with which the French stage is too often overwhelmed. A new piece, Daniel Lambert, will be brought out in a few days at the Odéon: it is from the pen of M. Charles de Courcy; and also a new piece will succeed the