Tho erection of such an organ might involve an expenditure of £10,000. Where, it will be asked, aro the funds to como from, sinoe all the money that can be got for tho cathedral is insufficient to do even a modioum of the contemplated works of embollishmcnt to tho exterior? If, howover, it could be seen—and the thing is far from being without tho range of possibility—that by the means just adverted to, the Corporation of the Sons of the Clergy might, bo enriched with an augmentation of income to something like £2,000 a year, the immediately raising a fund for the purpose of such work by special subscription might be matter worthy tho consideration of that body, and little difficulty in the accomplishment, one might suppose, seeing that there are eighteen thousand clergymen in the kingdom; all interested (or ought to be, since the benefits of the charity aro open to all), in the success of the society. The money so laid out would be, as it were, laying an endowment on the terms of a five years' purchase.

One suggestion more in conclusion. The cathedral choirs being tho primary material for the carrying on of such festivals, an additional annual performance might with advantage be given, and the proceeds appropriated in aid of a superannuation and widow and orphan fund for that muoh-neglected and ill-requited body, the lay-members of the cathedral establishments. F. C.

65, Regent-street, Feb. 6th, 1860.

(From a Correspondent.)

Ox Sunday (May 13th), three sermons were preached in St. Mary's Church, Mellor, those in the morning and afternoon by the Rev. J. Watson, M.A. (Rector of St. Peter's, Chester), and that in the evening by the Rev. J. P. Murphy, LL.B. (Chaplain to the Preston House of Correction), when the organ recently erected was opened with full cathedral service. Mr. J. Greaves, organist of the Preston parish church, presided at the organ, and the choir of the same church gave their assistance. On Monday ovening (May 14th), there was divine service, at halfpast six o'clock, when the Rev. D. F. Chapman, M.A. (curate of Preston) preached, and Mr. J. Walton, organist of Walton-ledale Church, presided at the organ. Au efficient choir was in attendance, and a selection of sacred music performed.

After each sermon a collection was made to meet the deficiency iu the organ fund, and towards defraying the expense of repairing and beautifying the church.

The new organ for Mellor Church, which has been so long talked of, was erected by Messrs. Kirk land and Jardine, organbuilders, Manchester. It has two rows of manuals, and contains the following stops :—

Greml Organ,Compass from CC to F in Alto, 51 notes.

No. Register

of IMpos. of Tone.

1. Great Open Diapason 54 ... 8 feet.

2. Small Open Diapason 64 ... 8 „

8. Stopped Diapason ... ... 54 ... 8 „

4. Principal 54 ... 4 ,,

6. Flute 54 ... 4 „

6. Twelfth 54 ... 8} „

7. Fifteenth 54 ... 2 „

8. Sesquialtra (3 ranks) ... ... 162 ... various.

9. Trumpet—Bass... ... ... >

10. Trumpet—Treble ) - S »

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Pedal Organ.Compass CCClo C, 25 notes.

21. Grand Open Diapason ... ,„ 16 Ft. ... 25 Pipes.


22. Swell to Great Manual.

23. Groat to Pedals.

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The organ has three combination pedals to change the stops; also, twenty-five pedals extending from CCC to C. The swell has Venetian shutters and graduating action. The bellows are double feeding and double leathered. The whole is inclosed in a handsome case with gilt front pipes. The height of the organ is 19 feet 2 inches; the depth, 8 feet 3 inches; the width, 13 feet.

Nkw Organs In The Provinces.—On Sunday, May 13, was re-opened, the organ at All Saint's Church, Bolton, which has had the additions of swell (tenor C, 5 stops), pedal diapason, 1G feet, and couplers; and on the same day, the organ in the parish-church, Stoke-upon-Trent, which has had a thorough repair, new pedals, swell, &c, &c.

NEW PHILHARMONIC CONCERTS. At the fourth, on Monday, the attendance was more numerous than at any of its precursors. The following was the selection :—

Part I.

Overture, (Medea) Cherubiui.

Aria, " Questi avventurieri" Mozart.

Aria, " Ah 1 come rapida" Meyerbeer.

Symphony (Jupiter) ,.. Mosart.

Scono, " II mio piano" (La Gazza Ladra) ... Rossini.

Aria, " Assisa a pio d'un Salico" Kossini.

Overture (Egmont) Beethoven.

Pabt II.

Concert-Stuck, Pianoforto Weber.

Aria Nazionale Napolitaine "Santa Lucio."

Solo, " Bravo, il mio Belcore" Donizetti.

Overture, (Men of Prometheus) ...' ... Beethoven.

Conductor—Dr. Wylde.

Four songs in the first part were just two in excess; two overtures by Beethoven in a miscellaneous programme were hardly advisable; and, to conclude, the two songs by Rossini should not have been placed together. The performance of tho symphony was splendid, and but that the minuet was taken too fast, irreproachable. The three overtures were finely executed, Beethoven's Prometheus especially. We have seldom heard this last played with greater vigour and point.

In the Concert-Stuck Herr Lubeck was the pianist. His oxecution was vigorous and his'power remarkable. We cannot, however, admire his reading of this very familiar work. He was loudly npplauded at the end, and recalled to the platform.

Madame Borghi-Mamo and Signor Belletti were the vocalists. The lady, in the willow song from Olello, obtained the same success as at Her Majesty's Theatre. Her Neapolitan air was no less successful, and the singer was summoned back at the end. Signor Belletti gave tho fine air from the Gazza Ladra with great effect, and was equally happy iu the florid piece from Donizetti's Elisir oVAmorc.


The eighth aud last concert of the seasou was given at the Hanover-square Rooms, on Monday evening, when tho following selection was performed to a very large audience :—

Programme.—Part I.—Svmphonv in C, No. 1—Mozart. Song, "Alpine Shepherd's Song," Madame Rieder.—S. W. Waley. Duettino coneertante, for oboe and pianoforte, Mr. A. A. Pollock and Mr. 8. W. Waley.—T. A. Walmisley. Song, "0 beauteous daughter of the starry race," Mr. Wilbyo Cooper.—Bethoven. Overture (Zamps)— Herold.

Part II.— Overture (Lurline)—Wallace. Carnaval de Venise, Madame Rieder. Andante and rondo capriecioso, pianoforte, Mr. 8. W. Waloy. — Mendelssohn. Coronation March (Le Prophet*) — Meyerbeer. Ballad, "Under the greenwood tree," Mr. Wilbyo Cooper. —Hatton. Overture (Egmont)—Ileethoven. Conductor, Mr. Henry Leslie.

Mr. S. W. Waley appeared to great advantage in the triple capacity of composer, pianist, and accompanyist. His playing of Mendelssohn's Andante and Rondo was exceedingly good, and he, in conjunction with Mr. Pollock, was all that could be desired in the late Professor Walmisley's clever duettino. The vocal music was excellent. Madame Rieder with her light and flexible voice displayed both style and execution in the Carnaval de Venise, the performance of which was frequently interrupted by the well-deserved applause of the audience. That clever and rapidly rising artist, Mr. Wilbye Cooper, earned fresh laurels by the chaste and classical stylo in which ho sung Beethoven's beautiful song.

The appearance of Mr. Wallace to conduct his overturo to "Lurline " was the signal for a hearty and enthusiastic welcome on the part of both orchestra and audience, and at the termination of its performance the applause was renewed with increased vehemence.


St. Jameb's Hall.—An excellent concert was given at St. James's Hall, on Thursday, the 10th inst., the programme of which was agreeably diversified by the performances of Miss Augusta Thomson, Miss Leffler, Mr. Santley, Mr. J. F. Barnett (pianist), and Mr. Henry Leslie's Choir. Mis3 Thomson was encored in Wallace's "Take this cup," from Lurline, and Mr. Santley received a similar compliment in "The Bellringer," by the same popular composer. Mr. Barnett's playing was distinguished for its thoroughly artistic character, and he appeared to much advantage in a composition of his own, entitled Caprice Brillant. He was received with the utmost enthusiasm, and recalled after his first performance. We have heard Mr. Leslie's Choirto more advantage, but we think this was in a great measure owing to its beiug their first appearance in St. James's Hall, and their consequently not having any experience of the room or of its acoustic properties. The concert was given for the purpose of raising a fund towards the completion of the musical education of a member of Mr. Henry Leslie's Choir, and as the artists above mentioned most kindly gave their services, and the room was exceedingly well filled, we are not surprised to hear that the object was fully attained.

Sacred Harmonic Society.—An unexceptionable performance of Haydn's Creation was given on Friday, the 11th inst. Mdlle. Parepa, Mr. Sims Reeves, and Signor Belletti, sustained the solo parts. In the two principal soprano airs," With verdure clad" and " On mighty wings," Miss Parepa was heard to greater advantage than in the more solemn and impressive strains of Handel or Mendelssohn; while Mr. Sims Reeves, thoroughly at home in all kinds of music—in the lighter productions of "Papa Haydn" no less than the more sublime works of the greater masters—sang with remarkable effect. He gave the air "In native worth" with incomparable taste and expression. Signor Belletti's artistic capabilities were called into requisition with the best possible effect, and the combined efforts of the principals in the concerted pieces were entitled to unqualified commendation. That the choruses were rendered with wonderful spirit and precision may be readily surmised from the familiarity of the singers with the mnsie, while the band was, ns usual, thoroughly up to its work.

The audience applauded without restraint, there being no warning ("in consideration of the sacred nature, &c.) in the programme—not that we find it makes the slightest difference when there is.

On Friday, June 1st, Elijah will be given, the first time for two years, at Exeter Hall.

M. Theodore RirrER.—This gentleman, well known as a pianist in the salons of Paris, gave on Saturday last a matinee d" invitation, when he was attended by an overflowing audience of musicians, professional and amateur. His playing is characterised by neatness and exactitude in execution, flexible and facile touch, and musicianly reading and expression. He wants nothing that a great artist should have, and he has that that

most artists, great and small, want, an unassuming manner and quiet demeanour, which leaves the music to produce its own effect; this latter is invariably impaired by the spasmodic and gymnastic gyrations which some of our best performers indulge in. In a trio of Mendelssohn with MM. Sainton and Paque, his appreciation of the refined beauty of the work drew down loud plaudits from the audience. The work was the Op. 66, in C minor, which ends with a vivace, a most fanciful working out of a beautiful idea. In a march of M. Ritter's own composition, considerable harmonic power in treatment is exhibited, and his rapidity and forcible fingering were exemplified in a ve/oce movement. But in the sonata of Beethoven, for violin and piano, Op. 30 (in C minor), he had a still greater opportunity for exhibiting his gifts and cultivation. It is at the standard of the greatest musician that ever lived that all candidates for popular suffrage must be tried; if they fail here, what avails their success elsewhere? If they succeed here, they have, ipse facto, passed all other tests. M. Ritter, then, is so entirely master of this work, which abounds in difficulty, that in neither of the simpler pieces he played did ho more freely develope his own perfect ideas of the composer's intentions. The slow movement, in A flat, was unimpeachable. The strings of M. Sainton in this work spoke with all his eloquent tone and poetry. The playing of the great French violinist was masterly in every sense. The vocal music included "Caugio d'aspetto," from Handel's Admetus, and " The skipper and his boy"—both sung by Madamo Sainton, who never fails to charm her hearers, and did so entirely on the present occasion.

St. Martin's Hall.—A new oratorio by Herr Johannes Hager, a Viennese amateur, entitled John the Baptist, was performed on Wednesday, under Mr. Hullah's direction, with his customary band and chorus. The principal singers were Miss Banks, Miss Palmer, Mr. Wilbye Cooper and Mr. Santley. The execution was praiseworthy throughout. The oratorio, however, made little impression. There were indeed two encores, but these in a great measure were attributable to the singers. As John the Baptist is not likely to be heard again in this country, we do not think it necessary to criticise it.

Miss Tiieresa Jefferys, one of our most rising sopranos, gave her first concert on Thursday evening at St. James's Hall. So many were the artists and so many the pieces, that the entertainment might be called a "Monster Concert." Among the. singers were Misses Parepa, Clari Fraser, Ransford, Palmer, and Laura Baxter; Messrs. Sims Reeves, Elliot Galer, J. W. Morgan, Ramsden, and Santley. The instrumentalists were Miss Arabella Goddard and Mr. Viotti Collins. The programme contained upwards of thirty pieces. Miss Jefferys particularly distinguished herself in Mr. Howard Glover's two songs, " Good Night" and "The Violet," both charming compositions, and both given with faultless expression. Miss Jefferys, also joined Mr. Sims Reeves in the duet "Tomami a dir," which was sung to perfection. Miss Clari Fraser gave Mendelssohn's "On Music's softest pinions" in her most graceful manner, and, in ''Huutingtowcr" achieved one of the true successes of the evening. Madame Laura Baxter sang, among other things, "Gentle Troubadour" (Lurline) with irreproachable taste. Mr. Sims Reeves was encored in Herr Molique's "When the moon is brightly shining," and Mr. Balfe's already popular "Margaretta," Mr. Santley receiving a similar compliment in "A father's love" (Lurline). Miss Arabella Goddard, with Mr. Viotti Collins, executed Beethoven's Sonata, in G, Op. 30, and Ascher's Fantasia on airs from Dinorah, the latter of which was received with tumultuous applause. There was a large attendance, and the concert, though too long, afforded unanimous gratification. Messrs. Adams, Marcellus, Higgs, and Mr. Henry Baumer were the conductors.

Royal Academy Of Music.—The second concert was given on Tuesday. The first part comprised a selection from Jcssonda and the first movement and minuets of Hummcl's septet, in D minor. In the septet, Miss Brinsmead, the pianist, distinguished herself by her brilliant execution and fine taste, and proved herself a worthy pupil of her eminent professor, Mr. W. Dorrell. The second part was miscellaneous. We may cite Miss Tasker's performance of the Andante and rresto, from Mozart's pianoforte Concerto in A major, as specially entitled to praise. Among the vocalists, Miss Henderson may be singled out for lier capital singing of " Qui la voce;" and Miss Taylor, in M. Costa's quartet "Ecco quel fiero istante," showed the possession of a charming mezzo soprano voice.

Vocal Association.—The feature of the fifth "concert, on Wednesday, was the engagement of Mdlles. Bruuotti and Vaneri, Signors Mongini, Everardi, and Ronconi, from Her Majesty's Theatre. Miss Stabbach aud Madame Goldberg Strossi were the other singers. The choir gave Neithardt's Motet, "Misericordia, Domini," and several part songs and glees, among which Bishop's "Sleep, gentle lady " was encored. Mdlle. Brunetti, who made her debut on Saturday, introduced the sceuafrom Der Freiichutz, in which she displayed a powerful voice and considerable vocal skill; the French translation of the words, however, is no improvement on the original. Mdlle. Brunetti sang a cavatina by Roverino, with far greater ease. Signor Mongini created a furor in " Fra Poco." Being encored, he substituted " La donna <5 mobile," which delighted the audience even more. Signor Mongini also joined Signor Everardi in a duet from Mosd, which was sang with great energy and power, and obtained a recall for both artists. Signor Everardi sang the serenade from Don Giovanni, "Alia finestra," in an expressive manner, and Signor Sebastiano Eonconi contributed au eccentric version of "La Calunnia." Madame Goldberg Strossi gave a German song and Venzano's "Ah, che assorta," and was recalled after the former. Mdlle. Vaneri was encored in an air from L'Etoile du Nord; and Miss Stabbach, beside the soprano solos in Bishop's Tramp Chorus, sang Mr. Salaman's pretty ballad " Good bye! a long good bye!" Mr. J. F. Barnett played three solos on the pianoforte—Bach's Fugue, in C sharp major, Stephen Heller's "Auf Flugelu des Gesanges," and Chopin's Polonaise in A flat, with admirable spirit. Mr. Benedict accompanied.

LETTER TO THE EDITOR. BEETHOVEN'S " AH PERFIDO." Sir,—Can you inform me where Beethoven found the words of his scena, " Ah! perfido Spirgiuro."

A Subscriber,

HER MAJESTY'S THEATRE.—First Appearance ol Alboni.— Titicns, Alboni, Vialetti, and Monjirii.— This evening (Saturday, May 19), will bo performed LUCREZIA BORGIA. Gennaro, Signor Mongini (bis third appearance in that character); Gubetta, Signor Castelh; Duca Alfonso, Signor Vialetti; Mafno Orsinl, Madame Alboni (her first appearance this season); and Lucrezia Borgia, Mdlle. Titicns. Conductor. Signor Arditi. To conclude with tho new ballet, composed by Signor Borri, and produced under his personal superintendence, entitled SCINTILLA, in which Mdlle. Pocchini and M. Durand will appear. The opera commences at 8 o'clock. Pit tickets, 8s. 6d.; gallery stalls, 5s.; ga'lery, iis.


(Saturday), May 19. Fir.it appearanco of Madame Alboni. LUCREZIA BOROIA, and the now ballet SCINTILLA. Graiid extra night on Monday next. May 21, IL TROVATORE and tho new ballet SCINTILLA. On Tuesday, May 22, will bo performed Rossini's opera, SEMIRAMIDE. Semirnmide, Mdlle. Titiens; Arsace, Madamo Alboni (her first appearance this season): Idrcno. Signor Bclart; Oroo, Signor Vlalotti ; and Aasur, Signor Everardi. Conductor—Signor Ardlti. E.irly application to insure places is earnestly recommended, as being tho only means to prevent disappointment. Grand Extra Nitrht—Titions, Alboni, Giuglini, and Vialctti. Monday next, May 21,—IL TROVATOIIR Mnnrico, Signor Giuglini; llConto di Luna, Signor Aldighiori; Fcrrando, Signor Vialetti ; Azuccua, Madame Alboni; aud Leonora, Mdllo. Titicns. Conductor, Signor Arditi. To conclude with tho new ballot, SCINTILLA (i i which Mdlle. Pocchiui and M. Durand will appear). Pit tickets, 8s. 6d. ; gallery ftalis, 5s.; gallery, 3s.

the box-office of tho theatre, opeu daily from 10 till 6.

To be obtained at

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Grisi, Orillag, Pcnco, Gardoni, Ronconi, Mario.—On Tuesday next, May 22
will be performed for the third time this season, Mozart's Opera

With tho following poworful cast:—Donna Anna, Madame Grisi (lie r last appear-
ance but six); Donna Elvira, Mdlle. Rosa Csillag ; Zerlina, Madamo Pence; Don
Ottavio, Signor Gardoui; LejwreUo, Signor Ronconi; II Commendatorc, Signor
Tngliafico; Masetto, Signor Polonini; and Don Giovanni. Signor Mario. Tho
Minuet by Mdllo. Zina and M. Desplaces.

EXTRA NIGHT.— Not included m tho Subscription. On Thursday next, May 24, will l>o i>crfbrmed, for the accond time this season, Verdi's Opera


Principal characters by Madame Grisi (her last appcaran. Rosa Csillag, Madamo Tagl"

T 1 i of T>:

but five), Mdlle. Signor Tagliafico, Signor

jliafico, Signor Gruziani,' Lucchcsi, Signor Rossi, and Signor Mario.

After which will bo produced a New Divertissement, arranged by M. Dcsplacci., entitled

LES AMOURS DE DIANA, Supported by Mdllo. Zina, Mdlles. Esper, Maraquita, Mulot, and Laurc, Mr, W* DI. Payne, and M. Dcsplaces.

First Appearanco of Mdllo. DIDEE. On Saturday next, May 26, will be performed, for the first tlrao this season, Rossini's Opera


Principal characters by Madamo Peuco, Madamo Tagliafico, Mdlle. DiditSo (her first appearance this season), Signor Ronconi, M. Faure, Signor Tagliafico Signor Lucchcsi, Signor Polonini, Signor Rossi, and Signor GardonX.

At tho conclusion of tho Opera the New Floral Hall will be Illuminated. The Band of the Coldstream Guards will perform until twolve o'clock, by permission of Colonel Nowtou, Every visitor to the boxes, pit stalls, or pit, will have the privilege of entree free of extra cliarge. Carriages cau take up at tbc Bowstreet entrance of the Floral Hall.

Conductor—Mr. COSTA.

Doors open at eight o'clock, tho Opera comemnccs at half-past. Pit tickets, 7s.; amphitheatre stalls, 7s. and 6s. ; amphitheatre, 2s. 6d.


TIIE illness of M. Jullien having, with fatal rapidity, terminated in death, it has been resolved thatthodonationsto the JULLIEN FUND shall beappliedinthe manner which would have been most in consonance with the wishes of the deceased had it beeu permitted him to express them, viz., to the relief of his widow and family, who, by hia loss, aro left totally unprovided for.

Committee tor the distribution of the Jullien Fund. Mr. John Mitchell; Mr. W. R. Sams; Mr. Thomas Chappoll; Mr. W. Duncan Davison; Mr. Robert K. Bowley ; a n i Mr. Jules Benedict.

Honorary Treasurers. Mr. John Mitchell. 33, Old Bond-street; Mr. Thomas Chnppell, 60, Now Bondstreet; and Mr. W. R. Sams, 1, St. James's-street.


Messrs. CouttsandCo., Strand; Hey wood, Kennards, and Co., Lombard-street; Loudon and County Bank, Hanover-square; who, as well as the Honorary Treasurers, have kindly consented to receive subscriptions.

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110 1 1 0

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The Rev. Thomas Lombard

His Grace The Duke of Lciu

ster 5 0 0

The Countess of Scarborough 110

lady Mary Thompson .. 10 0

Lady MMdleton .. .. 2 0 0

Lady Clifford Constablo .. 10 0

Lady Lechmcro .. ,. 10 0

I/idyCooko .. ... .. 110

Mrs. Hall (Terrington) .. 110

Mrs. Marten (Beverley) .. 110

Mrs. Wainnian (Carr Head) 10 0

Mrs. Pigot (Dublin) .. .. 2 2 0

Howard, Esq. (Birken-
head) 10 0

John Mackenzie, Esq. (Edin-
burgh) 10 0


. Books to roctive names are now placed at Mr. Hammond's (late J union's), 214,

Regent-street; Messrs. Cramer's, 201, Regent-street; Messrs. Baily Brothers,

Cornhill; Messrs Parkins and Gotto's, 24, Ox ford-street; Mr. Pask's, Lowther

arcade; Messrs. Keith, Prowse, & Co's., 48, Cheapside; Mr. Bignell's, Argyll

Booms; Deiiosit Bank, Leicester-squaro; Sunday Times Office; Messrs. Boosey &

Sons, Holies-street; Mr. AuBtin, St. James's Hall; Duncan Davison and Co., 244,

Regent-street; and at the principal music shops throughout the country.


ROYAL ST. JAMES'S THEATRE, King-street, St. James's. Lessee, Mr. F. B. Chatterton. FIRST SEASON OF THE IBENCH PERFORMANCES, under the direction of Mons. ADRIEN TALEXY.

Mons. TALEXY has the honour to inform the Nobility and Gentry, that ho has concluded arrangements to insure a permanent first-class French Dramatic Entertainment at tho Royal St. James's Theatre. He respectfully submits the programme for the First Season, which is about to commence, and hopes that the selection of the following distinguished Artistes will be considered sufficient evidence of the care and attention devoted to the undertaking.

The following eminent Artistes from the principal theatres of Paris, will make their appearance during the season :— Mdllc. Defphino Fix. Mdlle. Adole rage, Mdlle. Duvcrger, Mdlle. Marie Basta, Madame Dochc, M. Got, M. Brindeau, if. Lectere, M. Paul Devaux, M. A. Michel, M. Cadaux, Chef-d'orchestrc, M. Lambert Ednnery.

The permanent troupe will be on the moat complete scale, and will comprise many of the most efficient Artistes of the Parisian Theatres.

Prices of Admission:—Stallcs d'Orchestre, 7s. 6d.; stalles de balcon, 5s. ; parterre, 2s.; galeries. Is.

Private Boxes from Two Guineas upwards,

The Season will consist of Sixty Nights, commencing on Monday. May tho 28th, 1860 Private Boxes and terms of Subscription may bo obtained at the Box-office of the Theatre, at the Libraries and Booksellers.


The Musical World may be obtained direct from the Office, 28, IloUes-street, by quarterly subscription of five shillings, payable in advance; or by order of any Jfewsvendor. Advertisements are received until Three o'clock on Friday Afternoon, and must be paid for when delivered. Terms :

Three lines {about thirty words) 52*. Gd.

Every additional line (ten words) . ... Os. 6d.


LONDON, SATURDAY, May 19th, 1860.

13* a city, where no less a man than Hector Berlioz lives and writes, some curious matter in the shape of musical criticism frequently peeps out from the columns of the public press. Beethoven's one opera has recently been produced at the Theatre-Lyrique—being the last of M. Carvalho's sacrifices at the shrine of legitimate art. Unluckily, however, with M. Carvalho has departed the prestigi of the establishment, which bids fair to sink once more into the position of mediocrity from which that gentleman, with indomitable spirit and eminent ability, delivered it. Had Fidelio been brought out at the Thdatre-Lyrique while he was manager, success—nay triumph—would have been a matter of certainty; but he having seceded, that sudden rage for the classical repertory which seized the Parisians some time since, and with which they themselves were even more astonished than their neighbours, has abated. Now everything not French is intolerable, and even Mozart, Beethoven, and Weber—even Gluck (not to add M. Gounod)

—will be voted bores A few passages from a notice of Fidelio—in the columns of a journal, the name of which we shall not mention, and from the pen of a critic whose name is Delatouche, will illustrate our argument.

"Six years ago the Fidelio of Beethoven was performed, without much success, at the Theatre-Italien. Notwithstanding the talent displaced by Mdlle. Cruvelli in tho principal part, tho work of the Germun master had no success. I fear it is likely to be the same with Fidelio at the Theatre-Lyrique."

For "six years ago," read nine years ago. It was in 1851—when Mr. Lumley was impresario, and Ferdinand Hiller musical director, at the Theatre-Italien—that Fidelio was performed, with Cruvelli as Leonora. The success it achieved, it is true, amounted to no more than what our turbulent neighbours call a succis destime; but it must be remembered that a succis d'estime is a success after all, and (which is better), a success that lasts, and (which is worse) a success very rarely obtained in Paris—the way of the Parisians being either fevered enthusiasm or freezing apathy. But to retoucher Delatouche. The critic of the ■ likes not the story of Fidelio. Hear him describe it:—

"Let us speak first of the poem—it is absurd, anti-historical, and tiresome (ennuyeux). We are near the end of the fifteenth century. Ludovic Sforza has caused his nephew, Jean Galeas, to be imprisoned in a fortress, and commissions the gaoler to poison his charge. The gaoler consents, and brings with him, into the poor Duke's dungoon, a very young man—Fidelio—enamoured of his daughter.* This young man is Isabelle de Naples, wife of Galeas. She makes herself known to her husband at the moment when Ludovic approaches to kill his nephew.t To prevent this murder she seizes a bar of iron, with which she threatens Ludovic. The latter retreats terrified, and escapes. But the daughter of the gaoler comes to release from their prison, Fideliof and Jean, who go and throw themselves at the feet of the King of France, Charles VIII., just arrived at Milan."

The foregoing—be it understood—is not Fidelio as the Teutons know it, but "cFapris" MM. Michel Carr6 and Barbier—a barbierous and Gallic Fidelio. No wonder Delatouche should be dissatisfied. Ecoutons ce gaiUard:

"Do you not see the improbability at once? How could Galeas have thrown himself at the feet of Charles VIII., when history tells us that he died, poisoned, before the arrival of the King?"

Good; but the authors of operatic books (ask M. Scribe) are not invariably the most historical of poets. They worship Clio somewhat gingerly. We have no wish, however, to defend them in this instance, but leave them, willingly, to the trenchant stylum of Delatouche. Ecoutons encore ce i

"I have also a little observation to make. Since Madame Viardot" (why not Fidelio ?) "held Ludovic " (why not M. Quardi ?) "why did she not stun him incontinent? This would have deprived us of the last finale; but where would have been tho harm?"

There would have been no harm anywhere to the audience of the Th6atre-Lyrique (with M. B6ty as manager, be it clearly understood; the Thdatre-Lyrique with M. Carvalho was quite another thing), who can afford to do with as small a dose of Beethoven as might well be administered, and by whom the loss of a finale—even that incomparable finale —would be looked upon in the light of a bonus. Delatouche, nevertheless, is too modest in calling his observation "a little observation;" on the contrary, it is a big "observation," and mightily to the purpose. But now that we have examined Delatouche in re Barbier-Carre, their book, let us examine Delatouche in re Beethoven, his music :—

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"The music embroidered by the immortal Beethovon on this pale canvass"

["Music embroidered on a pale canvass!" — Here is a muddling of idioms!]

*' The music embroidered by the immortal Beethoven on this palo canvass is at pale at the canvass ittelf (.') The melody of the master is a soft melody, not noisy,* which expands itself en nappe (sheetwise ?) all tranquilly and without fracas; the nappe becomes a blue and limpid lake in which one mirrors oneself at one's case, and as there is no worse water than stagnant water, t so there is no music more detestable at the theatre than music which sleeps—and induces sleep."

There reader 1 you have an original criticism of Fidelio at last. Delatouche should be endowed with a beard of gold and Vermillion whiskers, also with thigh-rings and a high-heeled boot (like Mario's). If there was an E less in his patronyme, he might be anagramatised as Hot Caudle; but happily there are two. N'importe.

"Sonate, que me veux-tu?" asked a certain philosopher (also a Frenchman) of a certain sonata that, nothing if not audible, intended him no harm in making itself heard (according to its entelechy), under the fingers of a " hammervirtuose"—as Wagner would say. Delatouche, too, has Jus notions of a sonata, and thus unburdens himself:—

"One likes to hear a sonata of Beethoven's betweoen an nir of Bossini'g or of Verdi's, and a chanson of Nadand's. This broad and tender music relaxes, so to speak, the soul, and reposes it after the comic and brilliant. It is like an opium-pill, discreetly administered to a sick person after a day of agitation. Give to the sick person ten pills of extrait thebaique (vernacular-opium), and you run the risk of killing your unhappy patient. Thus does the Fidelio of Beethoven. In short—except the chorus of sick persons (chmurs des maladet%), tho introduction to tho third aot—a sort of march in the style of that of Weber in the Enlevement au Serail" (Mozart's Seraglio!) "together with tho two prayert sung by Madame Viardot and Quardi— and the rest is not worth the honour of being cited, nor even of being ieard."

Then follows a critique of the performers. "Madame Viardot," it appoars, "completely failed in the final sextuor —which, to say truth, is wanting both in colour and cliarm." We take the first half of the sentence to be as exact as the last—but no more so. The "tag" of the article we shall present to our readers in unadulterated Delatouche :—

"Quelqu'un mo disait en sortant do la premiere representation: Voila une musique qu'adorent lea Allemands, et rien n'est plus naturel: ils s'amusenl beaucoup quand ils s'ennuient.

"S'il y avait samodi des Allemands au Thiatre-Lyrique, ils ont du joliment s'amuser."

FINIT COKONAT OPUS. But oh! for the anagram!

Enter Epistemox. Epistemon. "An anagram of Delatoucho V In what language 1

Editor. In French.

Epistemon (reflecting). LOUCHE CADET?

Editor. A "c" too many. There are only ten letters in Delatouche.

Epistemon (after a pause). DE HAUT COL?

Editor. An "e" too few. There are ten letters in Delatouche.

Epistemon becoming impatient). DUEL A ECHO—then. Editor. Where's the " t"? Besides, there's no accent on the "a" in Delatouche. (Epistemon gives it up.)

Enter Cabpimoh.

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Carpimon. An anagram of Dalatouche? Here's one— 0 CUL DETACHER

Editor. Nonsense—you have a circumflex and a pair of acute accents; while in Delatouche there is not an accent of any description.

Enter PANTAQErjEL and Panuegi.

PantagrueL I've found it—AC HEU! DOLET.

Editor. That's good; all the ten letters of tko name, and a deep meaning in the sentence.

Panurge. I've another. AUT DELE HOC.

Editor. That's better—tho best that could be made, in

short. Aut Dele Hoc. Let tho Editor of apply

this injunction to the next article on Fidelio from the pen of Delatouche.

"I see no reason," said Epistemon to Pantagruel, as they sat at the Edinburgh Castle, "why thou shouldst not recreate the palates and edify the minds of thy friends, by giving a symbolical feast, after the fashion of that savoury zodiac, wherewith the wealthy Trimalchio entertained Ms guests."

"As it is long since I have turned over the pages of Petronius, I have forgotten the details of that elaborate foolery," replied Pantagruel.

"Why, look ye," proceeded Epistemon, "twelve figures representing the signs of the zodiac were arranged in the befitting form of a circle, and everyone was supplied with something harmonious to its character. Thus, upon Aries, the Bam, was placed a mess of the 'deer arieiinum,' a dainty, whereof I know nothing, but the English for which seemeth to be 'chick-pease'—a word that to me conveyeth no signification whatever; Taurus, the Bull, was surmounted by a bit of beef; a couple of kidneys, &c, were supported by Gemini, the Twins; upon Cancer, the Crab, was set a wreath, an arrangement, by the way, which has so puzzled some of the commentators, that they reject the reading Corona. Nevertheless, I am inclined to think it correct^ and to agree with Burmann that it signifieth the wreath usually worn by festive guests; for, shortly afterwards, Trimalchio explaineth that he himself was born under Cancer, and that he has put nothing on the image denoting that sign, lest he should press upon his natal star. A mew wreath placed, where you would expect a comestible, is the nearest approach to nothing that you can conceive. On Leo, the Lion, lay an African fig, in allusion to the animal's birth-place; the entrails of a young sow, that had never farrowed, delicately graced the sign Virgo; cakes of two kinds were balanced in the scales of Libra; Scorpio carried a sea-fish of the same name; to Sagittarius was assigned a viand, about which there is some controversy, but we will accept Burmann's reading 'otopetam? which clearly denoteth something with long ears. This we can the more readily assume to be a hare, as there is an ancient erEgy of Sagittarius carrying a hare in his arms. On this interpretation I do not strongly insist, but I decidedly object to the reading 'sclopetam,' which would denote a pop-gun, and thus humbly symbolize the functions of the Archer. For though the guests of Trimalchio might have been tolerant of a wreath in one of the dishes, methinks that a pop-gun served in another would have stirred their wrath Capricorn carried a sea-locust, which I am told hath horns, and I shall believe the fact till I receive information to the contrary from G. H. Lewes. That Aquarius should bear a goose, and Pisces a brace of mullets, is so natural an arrangement, that

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