CONCERTS. highest class of vocal music, and these are what render her aid indispensable to our greatest performances. Who that has heard, in the execution of " God save the Queen," at the Crystal Palace, her beautiful, bright, clear, ringing notes, pealing above the massive sound produced by the thousands of choristers and instrumentalists, distinctly audible at the remote extremes of that colossal building-who that has heard, can recal the remembrance without as much amazement as pleasure? Who that has heard, in the Hymn of Praise of Mendelssohn, her un-preciate good music,-flock in crowds, whenever and wherever paralleled delivery of the phrase, "The night is departing, departing," can ever believe that such perfect loveliness of sound, so beautiful in itself, and so true to the marvellous idea of the composer, can ever be realised by a successor? These are, perhaps, the two most remarkable instances of the display of Madame Novello's unique excellence; but no one who reads our remarks will be unable to swell the list by many examples he must have witnessed, which surpassing everything else he has experienced, are yet surpassed by these two. It is as natural as it is common, to feel a strong interest in the personal career of an artist who has professionally pleased us; to gratify such a desire among the countless admirers of Mad. Novello, to trace the course by which she has attained her preeminence, we have been at some pains to collect the particulars of the chief points of her history, which we believe we could not more opportunely than now set before our readers. MR. SIMS REEVES'S BENEFIT CONCERT.-Perhaps no singer that ever lived has done more to vindicate the claims of his art than Mr. Sims Reeves; and certain it is that no singer, native or foreign, ever was a more general and deserved a favourite. Not alone is the connoisseur delighted-Mr. Reeves ranking first among the virtuosi—but the public at large, the great shillingpaying masses, whom poor Jullien first taught to know and apthe name of Sims Reeves is announced, and by the warmth and heartiness of their applause, testify to the hold that he has upon their sympathies. Other artists may have their special merits, some excelling in sacred, some in secular, some in dramatic music, but of Mr. Reeves it may be said with truth, that in every branch of singing he is pre-eminent. In the majestic strains of Handel, the solemn recitative, the pathetic air, the vigorous declamation, he stands unapproached; while there are many airs that he has made, as it were, his own. Who, for instance, can sing, "Call forth thy powers," "Sound an alarm," "The enemy said," "Then shall the righteous," " Comfort ye my people, ," "Total eclipse," like Mr. Reeves? Not to multiply instances (as we might ad libitum), it is sufficient to say that, as an oratorio singer, Mr. Reeves is unequalled. Nor is it alone in sacred music that his great talents are conspicuous. His dramatic performances are no less admirable-the dashing brigand Of the three first essentials to a biography-the birth, in Fra Diavolo, the ill-fated Edgardo in Lucia, the love-lorn parentage, and education of the heroine-one, in the case of the Elvino in La Sonnambula, Florentin in Fidelio, Manrico in Troheroine, is always a point of delicacy; for who is the heroine, vatore (wide as the poles asunder)-all differing so largely in is she old or young, that will be unscrupulous as to the discussion style, and all alike excellent in conception and executionof the date, at least, if not of the locality of her birth. Madame stamp Mr. Reeves as immeasurably the first of our English Novello is, however, quite old enough to have earned the operatic artists. In the concert-room, again, he is at home with admiration, nay, the affection (if the same term of fondness may all the composers-Beethoven, Mozart, Mendelssohn, alike findexpress the love of the intelligence that we employ to signifying an interpreter worthy of their best inspirations; and no the love of the heart) of millions; while she is far too young to tenor, in our recollection, has ever done such ample justice to leave us without the conviction that she is in the full possession their compositions. It is no wonder, then, that the announceof her powers, that she is at the very apex of her career, and ment of Mr. Sims Reeves's benefit at St. James's Hall, on Monthat we ought to have had yet many years' enjoyment of her day evening, should have attracted the largest audience that has rare talent. Well, then, though she be a lady, she will have no yet been seen in that building. Had the room been double the just grounds of quarrel with us for revealing a fact, which, size, it would scarcely have sufficed to accommodate the numbers after all, is no secret, and in which, therefore, we can claim no who sought admission, undeterred by the wretched weather, copyright-the fact, namely, of the precise time and place of and anxious only to be present at one of the best of the many her birth. good selections with which the Monday Popular Concerts have Clara Novello first saw the light-to use a figure of speech familiarised the public. As it was, many were the disappointed which is scarcely compatible with that optical delusion, whereof applicants turned reluctantly away from the doors. Mr. Reeves she must have proved the fallacy during her sojourn in the chose four pieces for the display of his genius, each a perfect brightly sunny south-in Oxford-street, London; she saw, on gem in its way, although different in style. In the touching rethat occasion, at least as much of the light as ever can pene- citative, "Deeper and deeper still," from Jephthah, and the lovely trate our misty atmosphere, for the event occured when the air which follows, "Waft her angels through the skies," our emiair is at its clearest, and the sun is at its brightest, a fortnight nent tenor showed himself a perfect master of the highest style before midsummer, in the year 1818, upon the beaming 10th of vocal music. Beethoven's" Adelaide" has lately been freof June. Thus it will be seen, firstly, that she is a genuine frequently sung by Mr. Reeves, but never more exquisitely than Englishwoman; and that this much musically maligned land. on this occasion, the pianoforte accompaniment being played by of fogs and consequent rheums, catarrh, and influenzas, has Miss Arabella Goddard with that delicacy and refinement of yet to boast, in her organ, of its power of producing voices which she is unrivalled. A perfect furor of applause followed, of equal beauty to those raised and nurtured in the Land and Mr. Reeves had twice to return and bow his acknowledg of Song. It will be seen, secondly, that she will leave forty-ments, wisely resisting an encore. The air from Don Giovanni, two years behind her, when she quits this busy scene of ever-renewed excitement for the private seclusion of her own homestead, having still a natural prospect of a very long term for the enjoyment of that repose to which she retires by choice, not by compulsion, to give her family the benefit of her maturity; not because those faculties are exhausted with which she has so long delighted us, that we long to be longer delighted. Daughter of June, perennial flower of forty-two summers, we ask your pardon for this disclosure of your birth, and shall proceed next week to the consideration of your parentage. (To be continued.) SACRED HARMONIC SOCIETY.-Israel in Egypt was performed last night, for the first time this season, the principal vocalists being Miss Parepa, Miss Fanny Rowland, Madame SaintonDolby, Mr. Sims Reeves, Mr. Santley, and Signor Belletti. "Dalla sua pace," afforded Mr. Reeves an opportunity of exhibiting his appreciation of Mozart; and as a further proof of his versatility, so much humour was infused into the elegant little air of " Beethoven, "The stolen kiss," that an irresistible demand for its repetition ensued. It is a very long time since Mrs. Reeves has been heard in a London concert-room, and the public, not forgetful of an old favourite, accorded her a hearty welcome. Mendelssohn's " Frühlingslied," and Spohr's duet from Jessonda, evinced those musician-like qualities which have always characterised Mrs. Reeves's singing. Madame SaintonDolby also selected a song of Mendelssohn, "Night," and was warmly applauded for her highly effective and most expressive rendering of Mr. J. W. Davison's setting of Shelley's words, "False friend, wilt thou smile or weep" (Cenci). The instrumental selection constituted a worthy companion to the vocal; Beethoven's so called "Posthumous Quartet," in F major, Op. 133, was heard for the third time at these concerts, and with increased interest, and Rossini's Quartet, in G major, No. 1, although but a bagatelle in comparison with that of the giant tone-poet, was nevertheless sufficiently interesting to warrant its introduction. The executants in each instance were Messrs. Sainton, Goffrie, Doyle and Piatti, and both quartets were played to admiration. One of Mozart's Sonatas in F major, for pianoforte alone, was given for the first time and when we say that this beautiful composition was performed by Miss Arabella Goddard with all her admirable taste, faultless mechanism, and incomparable expression, our readers have a guarantee that no word other than "perfect" can apply to it In Dussek's very popular Sonata in B flat (Op. 69)-No. 1 of the Monday Popular Concert LibraryMiss Goddard enjoyed the co-operation of M. Sainton, whose purity of tone and thorough mastery of his instrument, divided the plaudits with the fair pianist, and both artists were honoured by a recall. A more splendid performance could not have been desired. Next Monday the selection will be again from various masters-Mr. Charles Hallé, Madame Sainton-Dolby, Herr Becker, and Mr. Sims Reeves, being the principal performers. CRYSTAL PALACE.-The concert on Saturday, one of unusual interest, was a "Shaksperian Selection;" whygiven on this occasion we have not been informed. The notion and poetry of every piece, however, was referable to the works of the great poet. The performance commenced with Mendelssohn's music to A Midsummer Night's Dream, the principal singers being Miss S. Wells, Miss Eyles, Mr. William Cummings, Mr. Baxter, Mr. Land, Mr. Lawler-all members of the London Glee and Madrigal Union-and a chorus under the direction of Mr. Smythson. Mendelssohn's music was followed by a miscellaneous selection, including two overtures-The Merry Wives of Windsor, by O. Nicolai, and The Two Gentlemen of Verona, by J. Street and comprising compositions by Sir Henry Bishop, Sir John Stevenson, Dr. Callcott, Dr. Wilson, and Stevens. The single encore of the concert was awarded to Stevens' glee," Blow thou wintry wind," sung by Miss Wells, Miss Eyles, Mr. W. Cummings. and Mr. Lawler. The concert-room was crowded, and nearly four thousand persons were assembled in the building. the criterion of the success of a piece. Prince Poniatowski gave the banquet the Saturday before Passion Week to the "administration" and all the principal singers and dancers of the Opéra, and a gracious remuneration to the choristers; so you can imagine that with them the opera is popular also. Monsieur A. Royer goes on actively, however, with his design of bringing out the Séméramis of Rossini, which Méry has just finished translating into French. Putting aside the great musical outline of the composer, which, of course, will be preserved, it is in many ways thrown almost into a new form-a general re-arrangement of the text and recitatives having been found necessary for the French stage. The decorations will be gorgeous. There is some talk of Merly taking the part of Assur. On Thursday, Friday, and Saturday of Passion Week all the imperial theatres were closed: the Italian Opera was the one exception, but it was to give the Stabat Mater of Rossini that the doors were opened. The Emperor and Empress had the same artists to perform it also in the chapel of the Tuilleries. Mesdames Alboni, Penco, Battu, and MM. Tamberlik, Badiali, Morini, and Manfredi, sang this grand work. The parts that gave the most pleasure were the quartetto, "Quando corpus morietus," sung by Alboni, Mad. Penco, Tamberlik, and Badiali, and "Fac ut portem Christi," sung by Alboni. At the OpéraComique, the Roman d'Elvire is again being played, as Madlle. Monrose is better. Galathée is given on alternate nights. I told you last week of the probability of M. Carvalho giving up the management of the Théâtre-Lyrique. Since I wrote, all arrangements have been concluded, and M. Rétz has assumed the reins of government, while M. Carvalho has gone to London with his wife. The Théâtre-Lyrique thus loses its greatest ornament in losing Mad. Carvalho. But for the lady, in a lucrative point of view, it is decidedly an advantage for her, as they say M. Carvalho lost during his management, notwithstanding the brilliant way in which it was carried on. And, certainly, to lose was but a sorry recompense for so much trouble, whereas, as it is, he may look forward to a brilliant and successful career for his wife. Last week-to speak now of the drama-the Gymnase gave a new work from the pen of M. Dumanoir, assisted by M. BRIXTON.-Mrs. F. Lucas gave a concert last week in the New Keranion. It is a comedy in four acts, entitled Jeanne qui rit Music Hall, when Madame Sainton-Dolby, Mrs. Winn, Mr. Montem et Jeanne qui pleure, and bears somewhat in its plot a resemSmith, and Mr. Winn, as vocalists, and Miss Cazaly, Mr. O'Leary blance to La joie fait peur of Mad. de Girardin. But the (pianofortes), and Mr. G. Horton (oboe), as instrumentalists, lent plan of the work, and style in which it is treated, save it from their assistance to the concert-giver, who was in excellent voice, and being a reproach that it is so. Whenever M. Dumanoir writes gave the grand scena from Der Freischütz with feeling and expression, a piece the public can go in all security and retain their places, also a duet with Madame Sainton, besides singing in several concerted pieces. Madame Sainton was encored in Balfe's "Green trees whis-worth listening to. The tale runs thus:-Madame Jeanne Rey certain that it will be more or less brilliant, well written, and pered low and mild,” and in “Janet's Choice" (Claribel). Mrs. Winn has lost her husband in the war in Kabylia. The gallant was similarly complimented in a ballad, and the other vocal pieces Colonel Rey, surrounded by Arabs, fell at the head of his went off with spirit. The instrumental music consisted of pianoforte fantasies of Thalberg and Liszt, extremely well played by Mr. O'Leary regiment. Madame Rey had not gone with him to Africa, but and Miss Cazaly, and a solo on the oboe, on subjects from Pia di remained behind in a little town in Brittany, to take care of her Tolomei, skilfully executed by Mr. Horton. Mr. O'Leary was accommother-in-law (who is infirm and blind), and her husband's panyist at the pianoforte. The audience were evidently pleased with young sister Laurence. A year-and-a-half have hardly passed the entertainment Mrs. Lucas had provided for their gratification. since this misfortune, when Mad. Rey and Laurence leave off their mournful dress, and appear brilliantly attired at a ball given by the sous-préfet. The poor young husband, to all appearance, has been soon forgotten, and charming and graceful as is the young widow, she is, it would seem, worldly and frivolous at heart. Her conduct is the talk of the little provincial town, and the name given her is Jeanne qui rit. But the other Jeanne who is she? She is a Mad. Jeanne Vanneau, a model widow. No one, however, knew her husband. He was captain of a vessel that was wrecked, and his widow has retired to this little town. Never would she be seen at a ball at the sous-préfet's, she would not wear those pretty lilac colours invented for transitory sorrows. Nothing is too black or mournful (it is true, she is fair, and fair people are longer in being consoled, so the French say, than dark, as black is so becoming to them). She is, in fact, Jeanne qui pleure. Meanwhile, M. Maurice Bouel, the surgeon of the regiment, and the inseparable friend of Colonel Rey, arrives from Africa. Ere his death, the Colonel had sent some last words to his family by him. But being struck down himself a few minutes afterwards he was taken prisoner. He had just recovered his liberty and returned to MUSIC AND THEATRES IN PARIS. (From Our Own Correspondent.) Thursday, April 12. THE members of parliament and other energetic English, who, eager to enjoy their short holiday, rushed over here to spend the last days of Lent and this Easter week-anticipating, no doubt, all the delights of spring-time, the "gioventir dell'anno," must have been rather disappointed. Some fine days we certainly have had, but on Tuesday cold, with a slight fall of snow, began again. However, if the daytime has been unpropitious, evening has brought the never-failing resource of the theatre, and many a hearty laugh, or, if the piece be touching, a tear in some pretty blue English eye, has borne testimony to the charm of that first-rate kind of acting that is so remarkable here. However, talking of theatres, I will give you a rapid sketch of what has been going on at the Operas. Pierre de Medicis brings excellent receipts to the Grand-Opéra: that is, I suppose, H ER MAJESTY'S THEATRE-This Evening (Saturday April 28), second time, the new opera, by Signor Campana, ontitled ALMINA. Blondello, Signor Giuglini; and Almina, Madile. Piccolomini (her last appearance but one previous to her final retirement from the stage). Concluding with the new Ballet Divertissement, in which Madlle, Pocchini, Madlle. Morlacchi, and M. Durand, will appear. In consequence of the extraordinary enthusiasm created by Madame Borghi-Mamo and Signor Mongini, in Rossini's opera of Otello, and in accordance with a generally expressed desire that the same should be repeated, the management have the honour of announcing to the nobility, gentry, and subscribers, that on Tuesday next, May 1, will be performed (second time) Otello. Desdemona, Madame Borghi-Mamo (her sixth appearance in this country); Elmire, Signor Vialetti; Iago, Signor Everardi ; and Otello, Signor Mongini (his second appearance in that character in England). Conductor-M. BENEDICT. It is respectfully intimated that in order to secure places, early application should be made at the box-office of the theatre, which is open daily, from 10 till 5, under the direction of Mr. Nugent. ROY OYAL ITALIAN OPERA, COVENT GARDEN.— performed (for the first time these two years), Aubor's Opera Zerlina, Madame Miolan-Carvalho (her first appearance in that character); Lady Conductor-Mr. COSTA. La Saltarella in the third act, will be danced by Madlle. Zina and M. Desplaces, First appearance of Signor Graziani. France to fulfil his sad mission. On arriving in the little town the first news he hears is the heartiess conduct of Madame Rey. Maurice, who loves Laurence sincerely, and who had come back to marry her, is shocked by hearing she has been her sister-inlaw's companion in these gaieties, and meeting Mad. Vanneau, who had been a first-love long ago, recalls his promises, tells him she is free, and whose conduct offers such a contrast to the others. She again induces her to ask him to marry her. But he must call on the family of the Colonel, and there his indignation soon changes to admiration, as he discovers the secret of the false gaiety. It is the day the letters ought to arrive from Africa: the poor old blind mother asks if the accustomed letter from her son, which had never yet missed, has arrived. Yes, the letter has come: they read it to her; the Colonel is well. Maurice guesses everything, but at an imploring sign from the two women, remains silent. To preserve yet a few happy hours to the poor blind mother, the wife and sister devour their tears in secret. It is because she likes to hear her son's wife is admired Jeanne has appeared at the ball. And no one has discovered the secret of this pious disguise, except an old notary, M. Bidault. Maurice leaves them more in love with Laurence than ever, but bound in honour to another woman. In the third act the interest increases, for the hypocritical character of Mad. Vanneau developes itself; her anxiety to hasten her marriage, her rage when it must be deferred, certain papers being necessary, and her consternation when a letter is put into the notary's hand and he tells her it is from her husband, who is still among the living. Maurice, delivered from his engagement, goes joyously to try and make his peace with Laurence. She at first refuses to accept him, but relents, and when told a husband has come to life a wild hope crosses her mind that it is her brother. A letter is put into her hand; this time it is a genuine one, and from her brother, who is alive. He was only wounded and is saved, in another instant he will be home. She reads in an ecstasy of joy the letter to the old mother. Jeanne enters while it is being THE illness of M. Jullien having, with fatal rapidity, terminated in death, it has read, recognises the writing of her husband, by an immense effort controls her emotion, and seizing the letter she falls on her knees and reads it; at the same instant Colonel Rey is heard coming up stairs. The artifice of the poor old notary who had first heard of the Colonel's being alive, and making it a trap by pretending to Madame Vanneau that it was her husband, thus thoroughly unmasking her character, freeing Maurice, making him and Laurence happy, and working up the curiosity of the spectators, is most cleverly done, and the last scene is most dramatically and touchingly acted. Mad. Rose-Cheri performed the part of Mad. Rey; M. Desrieux that of Maurice. Bouel-Geoffrey was remarkable in the character of Bidault the notary, and the rest of the characters were well filled. IL TROVATORE (being the third of the twelve representations to which her engagement is limited); will be performed with the following powerful cast:-Leonora, Madame Grisi FUND. been resolved that the donations to the JULLIEN FUND shall be applied in the manner which would have been most in consonance with the wishes of the deceased, had it been permitted him to express them, viz., to the relief of his widow and family, who, by his loss, are left totally unprovided for. Committee for the distribution of the Jullien Fund. Mr. John Mitchell, 33, Old Bond-street; Mr. Thomas Chappell, 50, New Bondstreet; Mr. W. R. Sams, 1, St. James's-street. Bankers, Messrs. Coutts and Co., Strand; Heywood, Kennards, and Co., Lombard-street; Subscriptions already advertised Proprietors of Punch Lady B. Lytton Countess Caroline Bellew.. Dr. Roberts Mr. Austin, sundry small Mr. Hammond A paper here says that the direction of the Grand-Opéra is to pass into the hands of the municipality of Paris, and that this change would hasten the construction of a new opera-house. Henry Fentum, Esq. Other papers say there is a talk of the town of Paris paying the expenses of the building, and giving it up in compensation for the pretty park of Monceau. The last number of the Revue Municipale says that "M. Bellu, to whom Paris owes the building of several theatres, has been charged, under the direction of M. Davionid, architect, with the reconstruction of the Théâtre-Imperial (the old cirque), and of that of the Théâtre- Sunday Times Offices Lyrique. The agreement has been signed by M. Bellu and the Prefect of the Seine, and authorised by the highest authority. M. Bellu has engaged, for the sum of 4,300,000 francs, to finish the two theatres in the space of eighteen months from the day Deposit Bank, Leicester-sq. on which the ground on which they are to be built is given up for that purpose by the town. It is not only the exterior, but in a state perfectly fit to enter in that they are to be given up by that time." Among the aristocratic dilettanti there is a talk of getting up a series of concerts, with a programme of the highest order. MM. de Morny, Troplong, Baroche, &c., with Prince Poniatowski as their president, are a few of the names talked of already. Messrs, Keith & Co., per J, N. Parkins and Gotto £ s. d. £ s. d. 20 Shilling subscripton, per T. Burbidge, Esq. Ditto A. Hyam, Esq. Ditto Bankers' Clerks, per 1 1 1 0 C. R. N. 1 Ditto from gentlemen at Ditto from gentlemen at Ditto Ditto 210 0 0 16 6 0 11 6 156 0 11 6 090 060 0 3 0 5 0 0 220 Parkins & Gotto Books to receive names are now placed at Mr. Hammond's (late Jullien's), 214, arcado; Messrs. Keith, Prowse, & Co's., 48, Cheapside; Mr. Bignell's, Argyll HER ER MAJESTY'S THEATRE.-Madlle. Piccolomini begs respectfully to announce to the nobility, gentry, and subscribers, that her FAREWELL BENEFIT will take place on Monday next, April 30, on which occasion she will have the honour of bidding adieu to the public, it being positively her last appearance on the stage. Full particulars will be shortly announced. In order to secure places, it will be necessary to make early application at the boxoffice of the theatre, which is open daily, from 10 to 5, under the direction of Mr. Nugent. THE MUSICAL WORLD. LONDON, SATURDAY, APRIL 28TH, 1860. THE new season at Sydenham will be inaugurated on the 4th of May, in the most brilliant manner conceivable. We cannot look for a third Handel Commemoration Festival; but if there is a name closely associated with that of Handel in the minds and hearts of Englishmen, it is the name of Mendelssohn. Next in popularity to The Messiah undoubtedly stands Elijah; and, while spell-bound under the influence of those mighty choruses of the Christian Musical Epic,-delivered by thousands of voices and instruments, assembled (under the guidance of one directing intelligence, and one mechanical guide-the mind and the bâton of Mr. Costa), in the great central transept of the Crystal Palace, on the never-to-be-forgotten 100th anniversary of Handel's death-many were the speculations as to how the choruses of Mendelssohn would sound under similar exciting circumstances. It was the general belief that the choruses in St. Paul would present difficulties not easy to surmount, but the opinions in favour of Elijah were unanimous. Nevertheless, after frequent and earnest discussions of the subject, not only at the time specified, within the walls of the Crystal Palace, but subsequently in almost every musical circle throughout the country, the idea was almost universally abandoned as untenable. 66 There will be no possibility" it was argued—“at least during the life of the present generation, of again bringing together such an army of choristers, however it might be practicable, with Michael Costa's indomitable energy, to enlist another instrumental army as numerous and as formidable as the last." But those who exhibited this want of faith, had reckoned without their host-in other words, without their Robert K. Bowley-for, in the organisation of such gigantic undertakings, Mr. Bowley is notoriously a "host" in himself. He, no doubt, had reflected on the matter deeply, and as the first step to once more making the "giant-chorus" a palpable fact, was resolved that the flower and strength of this phalanx should not be dispersed at all. He had at his command a convenient locality, known under the familiar name of "Exeter Hall," where some two thousand could occasionally be accommodated in anticipation of future events. Here Mr. Bowley persuaded them not only to meet at intervals, but what was more important, to meet for practice. Since the Handel Festival, then, the so-called " Metropolitan Contingent" of the Handel Festival chorus have assembled from time to time, and under the superintendence of their celebrated chief, Mr. Costa, have been resolutely drilled, not only in the music of Handel, but in that of other composers | such, for example, as the old Italian masters, an invaluable school for the attainment of choral excellence. Thus a nucleus has not only been kept together, but vastly improved in efficiency, ready, at a moment's notice, for any great undertaking. Attention of late has been especially accorded to the choruses of Elijah, two or three rehearsals of the whole of which have taken place in Exeter Hall, preliminary to the grand performance of the oratorio at the Crystal Palace, projected some time since, and now publicly advertised for Friday next, the 4th of May. How the idea originated may be best set forth in the language of the prospectus, just issued by the directors of the Crystal Palace : "When the news of the sudden and premature decease of Mendels. sohn reached England, in November, 1847, the Sacred Harmonic Society were preparing a performance of his oratorio, Elijah, which had been given in its revised form at Exeter Hall, under the composer's direction, in the preceding April. The regret expressed on all sides at the sad intelligence led to a subscription being immediately entered into for the erection of some permanent memorial to the worth and genius of the departed musician. Her Majesty the Queen and H.R.H. the Prince Consort took much interest in the furtherance of this object; while the Philharmonic Society, and other musical institutions, with a large numSome hundreds of pounds were collected; the amount being invested in ber of professors and amateurs, contributed towards its accomplishment. the Funds, in the names of trustees. The original intention was to place in some public building a bust of the composer. Applications were addressed to the authorities of Westminster Abbey, St. Paul's Cathedral, the British Museum, and other establishments of a public nature. In of the subscription; in others, the application was refused; and some cases, however, fees were asked almost exceeding the whole amount although no opportunity has been lost of endeavouring to carry out the original idea, it has been found impracticable. Upwards of ten years having elapsed since the death of Mendelssohn, and the committee feeling reluctant to remain under the reproach of inaction, it was ultibronze statue should be executed, which might be placed in some promately determined, notwithstanding the great additional cost, that a minent position in the open air, instead of within the walls of a public building. In accordance with this determination, Mr. Charles Bacon, the sculptor, who had previously prepared a full-length model of the deunder great disadvantages, inasmuch as the utmost diversity exists beceased, was entrusted with the task. Mr. Bacon unfortunately laboured tween the different portraits and busts of the composer. In the execu tion of the statue, however, he has been favoured with the advice of many of Mendelssohn's most intimate friends in this country; and among others, Mr. Klingemann, Sir G. Smart, Mr. Benedict, Dr. SternGruneisen, &c. The Misses Alexander, Mrs. Grote, and Madame Lind. dale Bennett, Mr. Buxton, Mr. Chorley, Mr. J. W. Davison, Mr. Goldschmidt, have also assisted the sculptor with their suggestions. The model completed, the casting was entrusted to Messrs. Robinson and Cottam, of Lower Belgrave-place, by whom, within the last few months, early next week to the Lower Terrace of the Crystal Palace, preparatory it has been successfully accomplished. The statue is to be removed to the Inauguration Fête on Friday, the 4th of May. "As, with the exception of the statue of Handel by Roubiliac (now in the possession of the Sacred Harmonic Society, originally in Vauxhall Gardens), this work is the only instance of a statue to a musical comsion for a celebration of the event. In order to carry out as completely poser being erected in this country, the present is deemed a fitting occa as possible the object in view, it has been determined to celebrate the occasion by the grandest performance of the composer's best-known work, the oratorio of Elijah, which has ever taken place. The Sacred In addition to the Handel Festival Choir (which, besides the chorus of the Harmonic Society will provide an orchestra of nearly 3,000 performers. Sacred Harmonic Society, comprises members of the principal choral societies of the metropolis), the leading professional choristers, with deputations from the principal provincial choral societies and cathedral include the instrumentalists of the Sacred Harmonic Society, with nuchoirs, and various continental bodies, will be present. The band will merous additions from the principal orchestras of the metropolis, the Crystal Palace, &c. The stringed instruments alone will exceed 250 in number. The whole of the arrangements are under the direction of the committee of the Sacred Harmonic Society; and Mr. Costa has undertaken to conduct the performance. Mdlle. Parepa, Madame SaintonDolby, Mr. Sims Reeves, and Signor Belletti, with other vocalists, are engaged as principals. The arrangements for the audience will be under the direction of the stewards of the Sacred Harmonic Society, whose exertions contributed so much to the general comfort at the Handel Commemoration of last year." "Thanks be to God," the "Baalite" choruses;-and above all the "Sanctus" ("Holy! Holy"), with three thousand singers and players (the singers of course in proportion), will be something to look forward to-something, indeed, that we may naturally expect to rival, if not surpass, the stupendous displays of 1857 and 1859. If untiring zeal and perseverance in providing for the gratification of the public are entitled to support, surely never was patronage more richly deserved than by the directors of the Crystal Palace and their indefatigable General Manager. COMING to their usual box in the "Edinburgh Castle," Pantagruel and Epistemon found upon the table a small piece of paper, on which were some verses in the villanous handwriting of Panurge. Nor was the paper itself without pictorial adornment, for the poet had evidently placed on it a glass of stout, which being wet at the bottom, had left behind it a spacious brown ring, whereby much of the poetry was encompassed. "Chance," said Epistemon, "hath here disported itself”— "If thou personifiest Chance," observed Pantagruel, "rather "If thou personifiest Chance," observed Pantagruel, "rather say herself, for I take it the personified Chance correspondeth to the goddess Fortuna-'gratim quæ regit Antium.' "Well, then," said Epistemon, pettishly, "Chance hath disported herself in a most humorous and fitting manner. Songs of war are sometimes surrounded by a wreath of laurel; on Valentine's Day, sixpence will purchase you an amatory sonnet set in a circle of true lover's knots. Now here thou findest the poetry of Panurge encompassed by beer-the very Hippocrene whence the bard draweth his inspiration. Well might he say with Persius: 'Nec fonte labra prolui caballino Nec in bicipiti somniasse Parnasso Memini' No kick of a horse produced this Pierian spring-this Hippocrene hath its beginning in the vat of one of those mighty men who are now so vociferous in the cause of sobriety." "Read the poetry-read-read!" cried Pantagruel, impatiently. "I do not greatly affect poetry read aloud; but still thy converse is so infernally dull, that I would have thy tongue employed on anything rather than on the utterance of thine own absurd views and sentiments. Thus encouraged, Epistemon read as follows:"THE GARDEN DEITY. "This cottage on the moor, so modest, with its thatch A log of oak am I, hewn by a rustic hand, A father and a son, who in this cottage dwell, These vines and plants, rude boys, he safely guards from you. A wealthy churl, who ne'er to me will tribute pay, Is living near-rob him—you can't mistake your way." "That," said Pantagruel, approvingly, "is the best thing he has done." "Well," said Epistemon, "measured by that very low standard, it may, perhaps, be allowed to pass. Nor, as he has once, on the precedent of old George Chapman, adopted this meter as an equivalent for the hexameter, can we well object to his extension of the same to the Ithyphallic numbers in which, as thou knowest, the eighteenth carmen of Catullus is written. For your Ithyphallic is such an enervation of the hexameter, that the distinction between them, though palpable to the ancients, is not perceptible to an ear trained to the observance of accent only, and not of quantity. Some, probably, will take pleasure in the distich: 'The other brings me gifts of little value-still, Their worth is great indeed, if measured by his will.' But to me, it is such a violent expansion, and therefore distortion of the original line 'Alter parva ferens manu semper munera larga,' That I fancy our vile friend hath rather translated Döring's note on the line, than the line itself, Munera parva, quæ quis pio animo offert suo si metiaris modulo, sunt magna et diis gratissima." "The history of the widow's mite told in Pagan fashion," said Pantagruel, with a sigh. "As for the concluding two lines," continued Epistemon, "I find them most offensive and detestable. The wealthy churl never pays tribute to Priapus, but as 'pays' won't rhyme with way,' the poet has recourse to the low, shabby expedient of turning the present into a sort of indefinite future, and sings will not pay.' Out upon such hobbling rhymesters, when they lay their profane hands on one of the choicest gems of Roman poetry that was ever bequeathed to the present generation." "Stop thy miserable abuse of thy betters," exclaimed sitting in the adjoining box for some five minutes, listening Panurge, who had slipped in unobserved, and had been with small pleasure to the comment on his verse, "and hear the news. This paper I hold in my hand is the Entr'Acte for the 14th of April, and it containeth a dialogue wherein great praise is bestowed on our converse-as choice, witty, pleasant, and erudite!" "Ha!" said Epistemon, "then it must refer to some discourse in which thou tookest no part. But what is the meaning of this? One of the speeches in this dialogue saith that the record of our conversation is in imitation of Rabelais. Who in the name of wonder is Rabelais? I flatter myself that our talk now and then approacheth the fashion of Erasmus, but I never heard of Rabelais." "Hast thou forgotten him?" said Pantagruel-" a low, dirty, clerical fellow, who a long time ago was always dangling my heels." at "I think I recollect the varlet," said Panurge, "but I always kept him at a respectful distance, and held with him but small converse. Ha! he was not a wight with whom I would have been seen walking down Little St. Andrewstreet!" "The worst of the knave was," observed Pantagruel, "that he wrote a sort of history of our transactions, in which he made us talk all sorts of filth and obscenity." "Us!" exclaimed Epistemon; "us, who are negotiating with the Tract Society for the sale of our dialogues, as likely to purify the moral atmosphere of this sinful metropolis!" |
