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REVIEWS.

“Summer Gladness"-song, words by the Rev. Horatius Bonar, music by Mrs. Sampson (Cramer, Beale & Co.). The poetry, of a purely devotional character, is excellent, and if the music were as new as it is expressive (and well written, by the way), we should have to congratulate the fair composer at all points. In paying her this compliment, we are not disposed to quarrel with the sympathy she exhibits for Schubert, in the symphony, and for Spohr (Jessonda ?) in the melody and harmony of her really charming song.

"Grace"-by Handel Gear (J. A. Novello). Mr. Handel Gear sings grace with appropriate solemnity and at the same time in an artistic spirit. We append the form of his thanksgiving:

"For these and all thy mercies given,

We bless and praise Thy name, O Lord;
May we receive them with thanksgiving,
Ever trusting in Thy word.

Amen."

-which, though a thought tame (and for a reason to the expounding of which Dr. Fell can in no way help us), we, nevertheless, prefer.

"Queen of Fresh Flowers"-duet, words by Bishop Heber, music by Mrs. Sampson (Cramer, Beale and Chappell). The words of Bishop Heber are beautiful, and had we space we should quote them, even though they proceed from a mitred poet. The music is hardly worthy of the authoress of "Summer Gladness," being both trivial and commonplace. In "Days past long ago"-words by James Onions, Esq., music by Mrs. Sampson (same publishers)—the fair composer triumphantly wins back her laurels. The words, though on a used-up theme, are of more than average merit, and were it not for the insertion of a superfluous "but" (which might advantageously be metamorphised into "and") would be irreproachable. The melody with which the music of Onions has inspired Mrs. Sampson is extremely graceful and expressive; nor is a word of hostile criticism called for by the accompaniment, which is in equal degree neat and appropriate.

To Thee alone be honour, glory, Now and henceforth for evermore. «Charms-étude à la valse"-for pianoforte, by P. E. The above words are set in very correct and effective fourvan Noorden (Van Noorden and Co.) Why this piece part harmony-first for alto, two tenors and bass, next for should be called étude is as difficult to explain as why it soprano, alto, tenor and bass, the latter being merely a should be entitled " Charms." The principal theme consists transposition of the former, from F to A. chiefly of an ordinary distribution of the chords of the tonic and "Les Naiades du Rhin', première fantaisie pour piano"-dominant into arpeggio, during a temporary departure from J. de Grenier (Robert Cocks & Chappell). As a "première which Mr. Van Noorden plunges head and ears into confantaisie" the above piece may be recommended. It is neatly secutive octaves between extreme parts moving in the same written (a point we are always inclined to insist upon as of direction :the highest importance), and though somewhat monotonous, the first three pages of the moderato (3-4 time) are not inelegant. The episode, besides a nice feeling for harmony, shows a more earnest wish to avoid the beaten track. do not like, however (for the same reason, probably, that some one objected to Dr. Fell), the subjoined progression :

We

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The first part of the Episode (in A flat), beginning at page 3, is graceful and less commonplace; but the second part-con fuoco (page 4),-is by no means as good. The variation on the first part, however, brings us back again to smooth water.

"Lassie, are you waking"-written and composed by George Linley (Cramer, Beale, and Chappell). The words, in the serenade fashion, are in Mr. Linley's simplest and happiest vein; and but for one or two questionable points the music would be no less unexceptionable. Here is one :

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"Night Watchers"-song, words by J. F. Waller, LL.D., music by Joseph Robinson (Cramer, Beale, and Chappell). The words of this song are conceived in a poetic spirit, and the music with which they are associated, in addition to the grace and expressiveness of its melody, is harmonised in a thoroughly musician-like style.

"I wish I were a child again"-song, words by Annie Bentley, music by G. A. Macfarren (Cramer, Beale, and Chappell)-but for its marked originality might be mistaken for one of those exquisite melodies (from Mr. W. Chappell's Music of the Olden Time), of which Mr. Macfarren has harmonised so many. Nothing can be more unobtrusive, pretty, and even tender than the melody, nothing more finished and unaffected than the accompaniment. Placed in the third act of an English opera, this little ballad would produce a "furore."

"The memory of thee"-ballad, sung by Miss Leffler, composed by John W. Morgan (Cramer, Beale, and Chappell). "The Warning of the Rose"-ballad, written and composed by M. Rophino Lacy (same publishers). "Round the corner waiting"-ballad, composed by William Walker (Robert Cocks and Co.) There is nothing remarkable to notice in

any of these songs. The first is on the extremest verge of common-place. The second has more attempt in it, and is not without a certain grace. The third has an ordinary melody, and is generally well harmonised; but at page 3, line 4, bar 4, the chord of E comes in so awkwardly as to derange the cadence altogether. The whole page, by the way, wants revision, the signature at the beginning of every line (an engraver's error) having one sharp instead of three.

LETTER TO THE EDITOR.

A CHAMBER-ORGAN WITH THE GERMAN AND ENGLISH SCALES OF PEDALS.

AN instrument on the following plan I am not aware has been built, and although the German scale of keys and pedals is well enough for fugues, choruses, &c., in solo playing on the swell, or soft stops in the choir, it is not so well suited, on account of the pedal-notes reaching so high, and the pedal-pipes being too loud for the fundamental bass, to a swell solo, with a soft left-hand accompaniment. To provide for both, I recommend the following arrangement, that if carried out would, I trust, satisfy the advocates for either the German or English G organ, as follows:PLAN-TWO SETS OF KEYS.

Upper Set, from CCC to A, six octaves and three-quarters.
Lower do., from CC to A, four octaves and a sixth.

STOPS IN THE UPPER SET-SWELL.

Stop Diapason, from tenor C to the top of the key-board.
Dulciana,
ditto
ditto.
ditto.

ditto

to to

Stopped Flute, ditto
Hautboy (organ) ditto
Clarionet,
Bassoon, from B below tenor C to CCC (harmonium.)
STOPS IN THE LOWER SET.

to F, continued with harmoniums.
to the top (harmonium flute-notes).

Stop Diapason (soft and sweet).
Open Diapason (round and deep).
Clarabella.

Principal.

Dulciana.

Open Flute to tenor C.

Fifteenth.

Twelfth.

Chorus (three ranks).

Trumpet down to fiddle G.

Trombone, from the next note below to CC.

Vox humana (Human voice) to Tenor C.

Swell Coupler.

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To draw on the lower keys, the open diapason, principal, open flute, fifteenth, twelfth, and chorus: pedal to the right. Next pedal (close enough to enable the foot to press down both at one time) to draw the reeds in the lower set and the swell coupler.

A third pedal (to the left) to reverse the preceding.

The one that draws the reeds to open the swell-box to be closed when the third pedal is pressed down.

lowest octave in the upper set, on which must speak an octave of The lowest octave of German pedals to pull down the keys of the bourdon pipes attached to a draw-stop.

Having given a full description of the instrument, I will now turn to its utility, first apprising my readers it is intended for a concert or drawing-room, and its high scale in the swell is to afford players plenty of scope for light playing, in which they may treat the swell as a violin and display what the organ is capable of producing, by such as desire to advance and not tread the one old worn-out path as some prefer, till the school is fairly become stale and insipid to the advanced taste of musicians.

Suppose I want the proper combination for one of Bach's

pedal fugues. I draw all the stops of the lower key-board, the German pedals and the bourdon. Here I have the German pedal organ; and if I desire more power, I can add the swell coupler without the bassoon, or it, to add brilliancy to the pedal notes.

If again, I want a proper accompaniment to a solo on the swell, I push in the German pedals and draw out the English with the five-stop diapason notes, by which I have a pedal scale of soft notes from GGG to A, the ninth above, with either a stop diapason or dulciana left-hand accompaniment, or, I can use the vox humana for the solo, and accompany it on the swell with a soft pedal bass. I am aware the chief novelty in this plan is the two sets of pedals, but I may be allowed to observe, an organ on the preceding arrangement would possess all that can be desired for a concert or drawing-room performance.

HAYDN WILSON,

Professor of the Organ, Pianoforte, and Theory, London.

PASSAGES FROM SPOHR'S LIFE. (Translated from Alexander Malibran's "Popular Biography.") IN January, 1821, Spohr performed for the first time at a public concert in Paris. He had prevailed upon the management of the Grand-Opéra to give an evening entertainment, the first part of which was to consist of a concert, and the second a ballet-an arrangement which was new in Paris, and saved him the troublesome task of getting up a concert himself. He gave his overture to Alruna, a new violin concerto, and the Pot-Pourri on Mozart's duet in Don Juan; between the pieces Mdlie. Cinti sang a cavatina, and Bordagni and Levasseur a duet by Rossini. The approbation of the public at his efforts was unmistakeably expressed in warm applause and cries of "Bravo." Not so favourable, however, were the criticisms of the majority of the newspaper critics, to whom Spohr had neglected to pay his court. It is true that all the papers mentioned the concert, and some with unqualified praise; most of them, however, did so with the addition of a 66 but," and all with self-complacent vanity. One writer said:" Si M. Spohr reste quelque temps à Paris, il pourra perfectionner son goût, et retourner, en suite, former celui des bons Allemands!"

Spohr played frequently at private houses, and had the satisfaction of finding that his compositions and play were greeted with enthusiasm by professionals and amateurs. The quintet for piano, flute, clarinet, horn, and bassoon, a piece which he had written for his wife, who had given up the harp by the advice of her medical attendants, was especially popular. An offer was made to take all the business arrangements of a second concert quite off his hands, and to secure gratuitously for him the best orchestra in Paris, but he did not avail himself of the offer.

*

The following judgment pronounced by Spohr, on the relative merits of Baillot (1771-1842), Lafont (1781-1839), Kreutzer, jun., and Habeneck, will have, on account of the practical remarks it contains, an especial value for violinplayers:

"If you ask me which of these four violinists please me most, I answer, unhesitatingly, if we look merely at execution, Lafont. He combines, in his play, a beautiful tone, the greatest purity, strength and grace, and would be a perfect violinist, if, to these admirable qualities, he united deep feeling, and had not accustomed himself so much to the practice, quite peculiar to the French school, of dwelling on the last note of a phrase. He * Jean Nicolas Auguste Kreutzer, brother of Rudolf Kreutzer, and his junior by fifteen years. He died in the summer of 1831, a few months after his brother, who had been ailing ever since 1826.

appears, however, to be deficient, like most Frenchmen, in feeling, without which a man can neither compose a good adagio, nor play one well, for, although he decks out his slow movements with many elegant and pretty ornaments, he is rather cold himself, and leaves his audience so. The adagio seems to be generally considered here, both by artists and the public, the most unimportant movement in a concerto, and is probably retained ouly because it is useful in separating the two quick movements from each other, and heightening their effect. "It is to the indifference of the French for this, as well as, generally, to their unsusceptibility for everything that touches the feelings, that I ascribe the fact of my adagio, and the manner in which I render it, producing less effect here than the brilliant allegro passages. Being spoilt by the applause bestowed, especially on my execution of the andante, by Germans, Italians, Dutchmen, and Englishmen, I felt at first offended at finding so little attention paid it by the French. Since, however, I have observed how seldom their own artists give them an opportunity of hearing a serious adagio, and how little the taste for it is awakened in them, I have grown calm on the point. The practice of bringing out the last note of a period by increased pressure and a rapid upward motion of the bow, is more or less peculiar to all French violonists, and of no one is this more strikingly true than of Lafont. It is incomprehensible to me how such unnatural accentuation, which sounds exactly as if a speaker were to let out strongly the short final syllables, can have arisen. If players, when executing the cantabile, had always taken the human voice for a model (as, in my opinion, every instrumental performer ought to do), they would not have thus gone astray, The Parisians, however, are now so accustomed to this unnatural fault, that the play of a foreigner, who is not equally eccentric, strikes them as far too simple, or as Herr Sievers expresses it, far too straightforward.

Baillot

"That Lafont's virtuosity is always confined to only a few pieces at a time, and that he practises the same concerto for years before he performs it in public, is well known. Since I have heard what perfect execution he attains by the plan, I will not blame this devotion of all his powers to one single end, but I feel myself incapable of imitating him; I cannot even understand how anyone can make up his mind to practise the same piece of music four or six hours every day, and, still less, how a man manages, when pursuing so mechanical a course, not to become totally insensible to all true art. is nearly as accomplished in the technical part of his play, while his diversity proves that he is so without being compelled to have recourse to such desperate means. In addition to his own compositions, he plays nearly all the works of ancient and modern times. On the evening in question, he treated us to a quintet by Boccherini, a quartet by Haydn, and three compositions of his own: a concerto, an air varié,' and a rondo. All these things he played with perfect correctness, and with the expression peculiar to his manner. This expression struck me, however, as being more artificial than natural, just as his style is marked by mannerism on account of the too great prominence of the means by which his expression is produced. His bowing is clever and rich in delicate touches, but not so free as that of Lafont; consequently his tone is not so fine, and the mechanical art of moving his His compositions bow upwards and downwards too audible. are distinguished from those of almost all other Parisian violinists by their correctness, and it cannot be denied that they possess a certain originality; but something artificial, antiquated, and marked with mannerism in the style, makes him exceedingly fond of playing the quintets of Boccherini very often. I was anxious to hear these quintets, of which I know about a dozen, played by him, in order to see whether, by-the-way he executed them, he could succeed in making me forget their emptiness. Highly successful, however, as was his performance of those he selected, the frequently childish character of the melodies and the poverty of the harmony, nearly always only three-part, struck me no less disagreeably than on every occasion that I had heard the same pieces before. It is hardly comprehensible how an educated artist like Baillot, acquainted with our treasures in the way of compositions of this kind,

can make up his mind still to go on playing these quintets (the only merit of which is founded on the period and circumstances under which they were written)! The fact, however, that people listen to them here with as much satisfaction as to one by Mozart, is another proof that the Parisians cannot distinguish good from bad, and are, at least, fifty years behindhand in their artistic education. I heard Habeneck execute two 'airs variés' of his own composition. He is a brilliant violinist, who plays a great many notes with great rapidity and great ease. His tone and bowing, however, are somewhat coarse. The younger Kreutzer played me a new, very brilliant and graceful trio by his brother. His style of execution reminded one somewhat of the elder one's manner, and convinced me they are the most sterling of all the Parisian violinists. The younger Kreutzer lacks physical strength. He is sickly, and frequently not allowed to play for months together. His tone is, in consequence, somewhat dull; in other respects, his play is pure, fiery and full of expression."

Remarkable, also, are Spohr's views with regard to the church music of the Royal Chapel, whose chapel-masters, Lesueur and Cherubini, assumed the direction in turn once every three months, that is to say, presided in court-dress at the head of the singers, while Plantade really conducted, and R. Kreutzer and Baillot led the first and second violins respectively. Spohr writes as follows:

"Although I was prepared to hear music of a very different character to what we call sacred music in Germany, I was not a little astonished at the brilliant theatrical style of a mass by Plantade, which I heard on my first visit to the chapel, the 17th of last month. It contains not the slightest trace of strict style, and no attempt at a canonical treatment of the voices, far less at a fugue. Leaving these out of consideration, it contains some exceedingly pretty thoughts, and good instrumentation, which would be perfectly in their place in a comic opera. The concluding allegro, probably on the words 'Dona nobis pacem' (though I do not know for certain, as the French pronounce Latin in a manner unintelligible to a German ear), was so completely in the style of an opera-finale (and, like the latter, with the tempo increased two or three times), that, at the end, completely forgetting the place I was in, I expected the curtain would fall and the public applaud.

"On the 24th December, at twelve o'clock at night, we heard what is called Messe de Minuit, written, on this occasion, by Lesueur. Previously, however, we were compelled to endure a great trial of patience, having to listen, during two rather long hours, from ten to twelve, to nothing but psalms sung in the most monotonous manner, and interrupted, now and then, by some barbarous interlude on the organ. At length, at twelve o'clock, the mass began. It was written in the same frivolous theatrical style as Plantade's composition, only in the solemn midnight hour it was even more repulsive! What surprised one more than anything else, particularly of Lesueur, who enjoys here the reputation of being an admirable harmonist, and, if I am not mistaken, gives lessons in harmony at the Conservatory, was the fact that there was not even a four-part treatment of the voices! Though, perhaps, it may sometimes be effective in opera for music to be written in two parts, letting the soprano go in octaves with the tenor, and the alto with the basses, partly to render the execution easier to the theatrical choruses, which are generally bad, and partly to obtain more material power, it strikes me as perfectly barbarous to introduce such a practice into the Church, and I should very much like to know what M. Lesueur, who is certainly a thoughtful artist, means by doing so. Variations for harp, horn, and violon cello, by Nadermann, executed by the composer himself, Messrs. Dauprat and Baudish, were introduced, instead of the Offertorium. You know that, in Germany, even a serious symphonymovement struck me as too mundane in this position, and, therefore, you may easily imagine what a repulsive impression was produced upon me by the gay French variations for the harp at the hour of midnight; yet I saw those present engaged in devout prayer. How do they manage to command a single pious thought with such trivial music?

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Either the latter has no importance for them, or they can close their ears completely against it, otherwise they must, like myself, be inevitably reminded by it of the ballet at the Grand-Opéra, where these three instruments are similarly employed in the most voluptuous dances. The harp, although, in very ancient times, the favourite instrument of a pious king, ought to be banished from the church, if only because it is useless in a strict style, the only one suitable for the church. "But will you believe me when I inform you that even the master, Cherubini, has allowed himself to be carried away by bad example, so that in his masses, also, the theatrical style is frequently predominant? It is true, that, in such cases, he makes up for his fault by admirable and effective music, but who can enjoy the latter if he is unable to forget entirely where he hears it? It would be less lamentable that Cherubini, like the others, departs from the true church style, did he not, in some few pieces, show how worthily he can write in that style. Many detached movements of his masses, especially the admirably treated fugues, and, above all, his Paternoster,' (up to the mundane conclusion), afford the most magnificent proof of this. If, however, you can get over your once annoyance at this style, which frequently launches out into the wildest extravagance, you may derive the highest artistic enjoyment from it. By the help of a rich fancy, of harmonic combinations, often quite strange, and a clever employment, guided by many years' experience, of the material that you are involuntarily carried away, soon forgetting all his means at his disposal, Cherubini produces such powerful effects. subtleties, and abandoning yourself wholly to your feelings and always written for Germans instead of for Frenchmen ?" to enjoyment. On his second visit to Paris, in 1844, Spohr, who since his first stay in London (in the year 1819) had achieved, in 1839, 1841, 1842, and 1843, extraordinary triumphs, both in France and England, was welcomed with great honours; among other things, Habeneck performed for him, with the band of the Conservatory, his symphony, Die Weihe der Tone, in such manner that Spohr asserted there were only two orchestras in the world that could play so well: that of the Conservatory in Paris, and that of the Conservatory in Prague.

What would this man have done, if he had

PROVINCIAL.

MANCHESTER.-Atthe last miscellaneous concert of Mr. Charles Hallé's third season, the following was the programme :

PART I.-Scotch Symphony in A minor-Mendelssohn; Grand Scena, "Wie nacht mir," Mdlle. Parepa (Freischütz)-Weber; Andante and Rondo, pianoforte, from Concerto in G (first time), Mr. Charles Hallé-Beethoven; Cavatina, " Victorine," Mdlle. Parepa-Mellon; Overture, "Preciosa"-Weber.

PART II. Overture, "Guillaume Tell" Rossini; Song, "L'Alouette," Mdlle. Parepa-Clapisson; Nocturne and Wedding March, from "Midsummer Night's Dream "-Mendelssohn; Solo, pianoforte, Mr. Charles Hallé: "Nocturne," in F sharp, Chopin"Lied ohne Wörte," in E, Mendelssohn-" Valse Caprice," Schubert and Liszt; The Laughing Song, "Manon Lescaut" (by desire), Malle. Parepa-Auber; Overture, "Zampa "-Hérold.

In noticing the last miscellaneous concert of the third season of Mr. Halle's concerts, we are happy to have observed a progressive augmentation of the support they receive. The attendances, with scarcely one exception, have throughout the season been exceedingly large, and more than once or twice the hall has been crammed, and this, too, in face of an increase in the charges for admission.

"It is," remarks his Majesty the King of Hanover," an unpardonable offence against the sublime and divine art of music to consider it as merely a pastime for leisure moments, and for tickling the ear; to imagine that it is destined solely to accompany the movements of the thoughtless dance; to attend and listen to its performances because such is the fashion; or to have recourse to music for no other purpose than to be able to pronounce in conversation a superficial opinion of artists and works

of art; and not much rather to strive to acquire a correct comprehension of all that is most sublime, exquisite, impressive, in every musical composition; to study intensely the productions of the inspired hours of great composers; and so, with unprejudiced mind, and wide-open heart, to feel what they felt, and to seek and find what is really to be found in the exuberant riches of all that is excellent in music-the ennobling of our feelings, the refinement of our morality, the strengthening of our energies and our courage, consolation in affliction, invigoration for the mind, hope for the future, and a steadfast perseverance in faith

and love."

The unexceptionable and high character of the music which Mr. Hallé has introduced at his concerts leads us to believe that he coincides with these sentiments, and we trust he will persevere in a course which is so honourable to himself and so calculated to advance his art.

Wednesday falling in Passion Week, Mr. Hallé selected Mendelssohn's Elijah for performance. Among the principals were Mrs. Sunderland, Mrs. Brooke, Mr. Wilbye Cooper, and Mr. Santley. This was the last concert of the series properly speaking; but Mr. Hallé announces an additional concert for his own benefit, when Glück's grand opera Iphigenia in Tauride will be given for the third time.

PETERBOROUGH (From a Correspondent).-The Messiah was given at the Corn Exchange on Wednesday, the principal parts by Miss Stabbach and Miss Huddart, Mr. Perren, Mr. Wheeler, and Mr. Harley. The chorus was made up of the choristers and some of the lay-clerks of the cathedral, with about thirty other ladies and gentlemen, members of the vocal class of Mr. Barratt (the conductor). These latter were not at all up to their work, consequently the choruses were for the most part unsatisfactory. The band (which was small, though effective) was led by Mr. Griesbach, with whom we observed some few others from the musical circles of the metropolis; the solos were, therefore, well accompanied, and provided indeed the treat of the day. Unfortunately, Miss Stabbach was labouring under a severe cold, which marred some of her best efforts. She was, however, very successful in "But thou didst not leave" (which, by the way, was taken at a moderate allegro, instead of an andante larghetto), as also in "I know that my Redeemer liveth:" the florid "Rejoice greatly" was, however, too much of a tax upon her in her present position, though it was very creditably given, and, indeed, the lady is deserving of great praise for her strenuous exertions to accomplish her work, as it was evident that these exertions were at times quite painful to her. Miss Huddart was more fortunate; her fine contralto voice being heard to great advantage in "He shall feed his flock" (which was nicely accompanied), and in "He was despised" (which was not, the only exception amongst the solos). Her great taste and expression thrown into this, together with the beautiful and touching words, had a marked effect upon the audience. Mr. Perren took all the tenor solos: "Thy rebuke," and the following air, were very chastely sung, and the famous “Thou shalt break them" was given with great precision and vigour. The bass solos were divided between a local bass, Mr. Harley, and Mr. Wheeler of Oxford, The former sang "Why do the nations," which was his best effort: his style in For behold darkness" was but very questionable. Mr. Wheeler gave "For He is like," and "The trumpet shall sound," very correctly, but with hardly sufficient power, and in the last was well accompanied on the trumpet.

KIDDERMINSTER (From a Correspondent).-On Thursday evening, the 5th instant, the Choral Society held a special meeting for the purpose of presenting their conductor, J. Fitzgerald, Esq., with a testimonial of their respect and regard for his long and valuable services as their conductor, who, ever since the formation of the society, ten years ago, has been unremitting in his labours and gratuitous services, to promote its interests, as well as the cultivation of musical taste in the town and neighbourhood generally. The testimonial consisted of a very handsome massive silver snuff box, richly embossed and engraved, with ornamental musical devices, and manufactured expressly for the occasion by Messrs. Elkington and Mason of Birmingham. The treasurer of the society, Mr. Standen, presided, and who,|

after suitably addressing the meeting, called upon the honorary secretary, Mr. Tuck, to read the address, which was drawn up by Messrs. Cooksey and Tuck. After reading the address and briefly commenting thereon, Mr. Tuck presented the testimonial, which was accepted by Mr. Fitzgerald and acknowledged in the warmest terms. After several congratulatory remarks by various members, Mr. Fitzgerald spoke an address, and the meeting terminated.

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YORKSHIRE CHORAL UNION-(From a Correspondent)-GRAND EASTER MUSICAL FESTIVAL.-Under the above designation a series of four concerts have been given at the Town Hall, Leeds, this week, jointly directed by Mr. Charles Hallé and Mr. R. S. Burton. On Monday morning, the programme included the two first parts (Spring and Summer) of Haydn's Seasons, and Beethoven's Mount of Olives. In the evening_there was a Miscellaneous Selection, including Mendelssohn's Pianoforte Concerto in G Minor, performed by Mr. Hallé. On Tuesday morning, the Messiah, and in the evening Glück's Iphigenia in Tauris, directed by Mr. Hallé. Among the principal vocalists were Madame Catherine Hayes, Mrs. Sunderland, Madame Weiss, Miss Freeman, Messrs. Perren, Inkersall, Wharton, Weiss, &c. The band numbered about forty, chiefly of Leeds and its neighbourhood, with a few from Manchester, &c. In some departments, the orchestra was good, but the overpowering brass and paucity of "strings" was much felt throughout the performances. The Bassi were extremely weak. The chorus numbered about 150 (not 250 as stated in the bills), and were, on the whole, remarkably powerful and efficient. Their singing was excellent in all the performances except Iphigenia, where the minor intervals seemed to puzzle the united choirs amazingly, being rarely, if ever, in tune. In the Messiah, Mount of Olives, and in all passages requiring vigour and force, the chorus was fresh, powerful, and effective, and generally in good tune. The specialities of the solo singers need not be detailed here, for they must be well known to the readers of the Musical World. Of course Madame Hayes sang "The harp that once," &c., and of course carried off the usual honours. Of course Mrs. Sunderland gave Arne's antiquated "O bid your faithful Ariel," and of course the Leedsers would have it again. Of course Mr. and Mrs. Weiss sang "Il pianto," and of course Mr. Weiss was successful in all he undertook. At a "grand musical festival," however, it might be supposed that the vocal pieces would have had the advantage of a band, instead of a pianoforte accompaniment. The great feature was undoubtedly Mr. Charles Halle's pianoforte performances, which were everything that could be desired, and awakened considerable enthusiasm. The attendances at the morning performances were very limited, but more numerous in the evenings. We believe the receipts will be considerably below the expenditure.

"38TH

ARTISTS' VOLUNTEER RIFLE CORPS, ENROLLED AS MIDDLESEX."-Viscount Bury has been appointed CaptainCommandant. The other officers of the first company are Lieutenant H. W. Phillips, Ensign J. E. Millais, A.R A., Sergeants F. Talfourd, A. J. Lewis, C. Perugini, H. Watkins, Corporals C. Earles, W. Gale, A. Nicholson. The members of the corps number upwards of one hundred and thirty, meet for drill every evening at the Argyll Rooms, and on Wednesday mornings at Burlington House. Two companies are already formed, and third and fourth companies in course of formation. Amongst the active members of the corps, representatives of various branches of art, painters, sculptors, musicians, actors, architects, &c., are the following:-Messrs. Millais, Hunt, Phillips, Watts, F. Talfourd, Leech, Luard, Monro, Hullah, T. Harper, Blagrove, Nicholson, Stirling, Leighton, Dickenson, Cockerell, Salvin, A. Wigan, D. Fisher, Gale, Richmond, O'Niel, Cooper, Thomas, Severn, C. Haag, Lewis, Cayley, Earl, Perugini, Woolner, Earles, Hayllar, Prinsep, Watkins, Martineau, Williams, &c., &c.

GOOD ENOUGH FOR PUNCH.-Query-in the estimation of modern barytones, should not M. Faure (Four) be called A One? (Dedicated to Augustus Mayhew, Horace Mayhew, and Sutherland Edwards, Esquires, authors of The Goose with the Golden Puns).

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