which we must defer speaking); and on Thursday II Trovatore, with the usual cast. To-night The Huguenots.

Signor Schira's Nienlo de" Lapi, we are informed, made so highly favourable an impression at the first band rehearsal, that it is now determined not to bring out the opera during the "cheap nights," but to reserve it as an attraction for the ensuing season. We think this step in every sense judicious. A new descriptive ode, entitled Italia, the composition of Signor Giuglini, is in preparation, and will be performed on the occasion of this popular singer's benefit.

EXETER HALL. Tan performance in aid of the funds of the British Columbia Female Emigration Society, which has been for some time announced, took place on Wednesday night To judge from the appearance of the hall, which was crowded in every part, the concert was a brilliant success, and, if the outlay necessarily incurred has not been unusually extravagant, we may fairly surmise that a considerable sum will be handed over to the fund. It has been even reported—on what foundation we are unable to say—that an English amateur, a staunch admirer of the talent of Herr Schachner, paid the whole expenses, with an understanding that the net proceeds should be devoted to the interests of the charity.

A better execution of an oratorio we have very rarely heard ; and, considering that this was the first trial of an entirely new work, the greatest possible credit is due to Mr. Alfred Mellon, and to the singers and players under his control. The orchestra—chiefly, we believe, from the Royal Italian Opera (with no less distinguished a musician than Herr Molique as leading violin)—was magnificent ; the chorus, between 500 and 600 strong, the majority from Mr. G. W. Martin's National Choral Society, was one of the freshest, most vigorous, and (still more important) most capable that has taken part in an oratorio for years, whether in London or at the country festivals. The principal singers were Mile. Titiens, Mad. Laura Baxter, Messrs. Sims Reeves and Weiss ; and as all these eminent artists sang in their very best style, the perfection with which the solos and concerted pieces were given may be readily imagined.

About the oratorio itself we must at present refrain from offering a decided opinion. The subject— Israel's Return from Babylon (which also supplies the name) — is not very promising at the outset; and, as there is no story, and consequently no dramatic interest, it comes—like the Song of Moses (the second part of Israel in Egypt) and the Creation — under the category of the "didactic." Now, the sublime genius of Handel was required to illustrate the recapitulation of the miracles of the Exodus, the graceful fancy of Haydn to invent music for the successive wonders of the "cosmogony;" and although in the deliverance of the Jews from Babylon Herr Schachner has set himself a far less arduous labour, the manner in which tho book is compiled (from Scripture and other sources) places him in exactly the same position as Handel and Haydn, with hardly the capacity of either to maintain it triumphantly. Since, however, this arrangement of the materials at disposal is due to Herr Schaclmcr himself, if at times the progress of his oratorio flags, he enjoys at least this advantage—that he may attribute it to the book, without offence to anybody. Israel's Return from Babylon is divided into four sections — " The Captivity," "The Deliverance," "The Reconcilement and Return to Zion," and " The Promise and Song of Praise." How each of these departments has been treated by Herr Schachner we may have another opportunity of examining. At present it is our agreeable task to record the unanimous favour with which the oratorio was received, and the hearty approbation bestowed upon almost every piece. The applause began with the contralto solo, "Fallen is thy Throne, O Israel," immediately following the orchestral introduction — an impressive example of vocal declamation on the part of Mad. Laura Baxter. This was the chief " sensation-point" of the first section (•' Captivity"). At the commencement of the second (" Deliverance ") Mile. Titiens and Mr. Sims Reeves were conspicuously prominent; and the alternation of two such voices — whether employed simply in recitative, or in the more measured and rhythmical divisions of the aria— would, under any circumstances, have aroused an audience to enthusiasm, as was the case on Wednesday night, A very lively chorus— "Sound the loud timbrel"—splendidly executed, kept up the excitement thus created ; and, as this included a declamatory solo for Mile. Titiens (" Praise to the Conqueror "), its effect was all the more extraordinary. A duet for tenor and bass (Messrs. Sims Reeves and Weiss), one of the best things in the work, and declaimed with singular emphasis by tho two singers, was the other point of the second part. In the third (" Reconcilement and Return to Zion ") occurs the gem of the oratorio —a duet for soprano and tenor, " Hark! 't is the breeze "—in which the voice parts (to speak technically) are treated in canon—each phrase

allotted to one being strictly and literally imitated by the other. This was given by Mile. Titiens and Mr. Sims Reeves to absolute perfection, and won an encore as enthusiastic as it was unanimous. An arietta for Mad Laura Baxter and an air for Mr. Weiss—both interesting and both remarkably well rendered—were the other solo exhibitions that elicited marked attention in the third part, which also comprised a chorus—" Go forth to the Mount"—more ambitious and developed with greater ingenuity than any that had preceded it. In the fourth part (" Promise and Song of Praise ") the mest striking feature was an air, with chorus (solo by Mile. Titiens), directly preceding the chorale and chorus (" Praise to the Lord ") with which the oratorio terminates. This, grandly delivered, raised unbounded applause. At the end of all, in obedience to a generally expressed desire, Herr Schachner, composer of the new work, made his appearance in the orchestra, and was vociferously cheered. There was then a loud call for Mr. Alfred Mellon, who, nevertheless—legitimate as was his claim—did not respond to the summons.

.CRYSTAL PALACE. The special amusement at Sydenham on Saturday afternoon was a concert of Welsh melodies, arranged by Mr. John Thomas, who is considered a high authority in matters connected with Cambrian music, and glories in the title of " Pencerdd Gwalia." The melodies were for the most part choruses sung by 300 voices, in the Welsh language, and accompanied by a band of twenty harps. There were, however, a few songs sung by Miss Edith Wynne and Miss Lascelles, and the number of solo pieces would have been greater had it not been for the absence of Mr. Lawlcr, whose name appeared in the programme. Mr. Benedict officiated as conductor.

In the Welsh melodies there is much to gratify a general London audience. They are simple, pleasing, and intelligible, and capable to a high degree of those expressions of joy, sorrow, and defiance, the value of which cannot be over-estimated, when music appears, not as the result of a high art, but as the exponent of a national feeling. Moreover, some of the Cambrian tunes have been already naturalised among that portion of Her Majesty's subjects which, unhappily, cannot boast a descent from the Ancient Britons, and these were very judiciously introduced by Mr. John Thomas. "Ar hyd y nos" has been settled among us for a good sixty years as "Poor Mary Anne," and we suppose there is nobody, old or young, who is not familiar with the sufferings of that ill-starred young lady. "Cease your Funning," which was sung in the Beggars' Opera as far back as 1728, and to which a new popularity was given in the beginning of this century by Mad. Catalani, who executed the air with elaborate variations, is perhaps scarcely so well-known as it was forty years ago, when Gay's dramatic masterpiece was deemed nearly as essential to the education of an Englishman of the world as the principal novels of Fielding and Smollett j but was recognised, nevertheless, when sung on Saturday by Miss Lascelles under its Welsh name, "Llwyn Onn," and was encored with the way mth due to an acknowledged favourite. Wo may observe, by the way, that the Cambrian origin of "Cease your Funning" is not conceded as a matter of course by English archseologists. Mr. W. Chappell in his history of "Popular Music " informs us that the Welsh air which resembles the English one was not printed till 1802, and he shrewdly suggests that it is infinitely more probable that it was derived from "Cease your Funning" than that a tune noted down seventy years after the Beggars' Opera had been performed in Wales should prove to be the original of one of its melodies. Leaving this pretty little pippin of discord to be tossed about by English and Cambrian antiquaries, we proceed to state that by far the most effective melody performed on Saturday was the " March of the Men of Harlech," which must have been fresh to the generality of the audience, and was heartily encored on account of its spirit-stirring character. Another capital chorus was "Hob y duri danno," in which a rustic lover expresses his devotion to his mistress. The words that constitute the title to this melody seem to be without meaning, and to correspond to such combinations as tho "Fal lal la" of our own madrigals, the "Hop sa sa " of the German, and the "Miriton, Miriton, Miritainc" of the French Malbrook.

As a vocal performance the concert on Saturday was worthy of all commendation. The chorusus could not have been executed with greater precision, nor in a more expressive manner j nor could the ancient Britons have put themselves under a more zealous and experienced chief than Mr. Benedict. The songs, too, were very prettily sung by Miss Lascelles and Miss Edith Wynne. The voice of the latter is scarcely powerful enough to fill a concert-room compared to which St. James's Hall is only a snug apartment; but she is regarded by her countrymen as the "Eos Cymru" or "Cambrian Nightingale," and her appearance on Saturday was deemed an important event. With respect to the twenty harps that accompanied the 300 voices, we are afraid that their full value cannot be properly estimated by anyone who is not strongly impregnated with that national sentiment which may be called patriotism or prejudice, according to the temper of the speaker. The harp in it large hall is essentially a weak instrument, nor does it gain much strength by multiplication. Generally the tendency of the voices was to drown the accompaniment, but nevertheless we must admit that the row of harpists (nearly half of them ladies) presented a very picturesque appearance, and that the chords sounded effectively enough at the end of each melody. In national solemnities one must concede something, and doubtless to the Welsh portion of the audience a song without a harp would have seemed as incomplete as a dance without spurs to a Magyar. Wo Anglo-Teutons may think lightly of harps and spurs as accompaniments respectively to vocal mif-ic, and to dancing, but we have no right to expect that all the world will share our indifference. He who lays it down as an axiom that trousers are an indispensable article of male attire is ill prepared to enjoy a Highland festival. The 6ongs were accompanied by Mr. Thomas, on a single harp. The crowd of the consonants without vowels, so startling to all who for the first time read the Welsh inscription, exists only for those who are ignorant of the phonetic value of the printed letters. The sound of the language, as sung on Saturday, was rcmurkahly soft and agreeable, and those who wished to study it might have taken advantage of the programme, in which the original text Etootl in juxtaposition to a fluent English version by Mr. T. Oliphant.

The palace was not remarkably full, but the concert-room was so crowded that only standing-room could be obtained after the performance had commenced.



Sir,—Will you allow a constant reader of the Musical World to atone in its columns for a few omissions, inevitable, no doubt, in this unpreccdentedly busy season, which may now be said to be " on its last legs "? An amateur of some experience, and an intense lover of the beautiful art you so ably and impartially represent, I keep B regular diary of musical events of importance, from year to year. On comparing my own notes with the broad sheet of information bebdomadally supplied by the Musical World, I find that, in May especially, some highly interesting concerts were left unnoticed by your reporters. That a paper so influential and so widely circulated should also be a complete annual record—a volume of reference, in short, as well as of criticism—is obvious. With your approval, therefore, I will send you, from time to time, such leaves from my diary as may fill up blanks in your general mass of information. I begin with the month of May, up to which period very few omissions (none of much consequence) are to be noted in this year's now more than half completed volume :—

"The Philharmonic Society (in the Hanover Square Rooms) has held its fourth and fifth concerts. At the fourth there was a novelty, or quasi novelty, in the shape of an orchestral symphony by Heir Niels Gade (in A minor, No. 4), which, though extremely well given, under the direction of Professor Stcrndale Bennett (who, on appearing is the orchestra, was greeted with reiterated cheers), was generally voted ' dry,' and so failed to please. The other symphony was Beethoven's 'No. 1' (in C), the first of those nine imperishable masterpieces to which a large part of his fame is due. Mozart's Adagio and Fugue in D, which had not been heard since 1850, and the overture to Der Frcischiitz, were the other orchestral pieces. There were two concertos—Hummcl's in B minor (pianoforte), and Mendelssohn's in E (violin)—both played with spirit, the first by Herr Ernst Taucr, the last by Mr. Henry Cooper, a 'fiddler' of whom England has reason to be proud. The singer was Mile. Titicns, who besides two pieces from Mozart, 6ang 'Va dit ellc,' from Robert le Viable, so finely as to elicit the marked approval of the composer, the fact of whose presence was soon circulated through the room, and led to a general shout of 'Meyerbeer,' which drew the unwilling maestro from his hiding-place in the gallery. At the fifth concert, the symphonies were Mozart's in E flat, and Beethoven's 'Pastoral,' which were both performed with remarkable vigour. The overtures were Mendelssohn's picturesque Hebrides (Fingal's Cave), and Cheiubini's Anacreon, which last must always possess an interest apart, as having been the opening piece at the first public performance ever held by the Philharmonic Society, in the Argyle Booms, on Monday, March 8, 1813, the year of its foundation. There were again two solos. The first—a concerto for the violoncello (in B minor), composed and played by Herr Davidoff (from St. Petersburg!)), who if not

quite a Piatti, is a virtuoso of eminent distinction, and whose music, if not intrinsically good, can hardly fail to astonish, when Herr Davidoff himself is its interpreter— achieved a real success. The second — a fantasia on themes from Guillaume Tell, for the oboe, the composition of MM, Lavigne and Arditi — was no less fortunate, and deserved all the applause it obtained. More finished execution on the oboe has rarely been listened to. The singers were Miss Louisa Pyne and Sig. Belletti; the English prima donna delighting her hearers in the grand scene from Fidelio (Invocation to Hope), the Italian bass selecting the Count's air in Figaro, and the two contributing together 'Dunque io son' (Barbiere). At both concerts the Hanover Square Booms were crowded. (So that the Jubilee year of the oldest of our musical institutions was at this period going on as prosperously as could be desired.)

"Dr. Wylde's New Philharmonic Concerts were never doing better, and it must be added, never deserved better. At the second, the symphony was Mozart's great one in C, nick-named "Jupiter"; at the third, Spohr's gorgeous 'Weihe der Tone'—' Consecration of Sound,' or, as London programme-makers obstinately mistranslate it, 1 Power of Sound.' Cheiubini's overtures to Les Abencerrages and Lodoisha, Auher's to Masanicllo, and Weber's Ruler of the Spirits were included in the two concerts. Of Auber and Weber nothing need be said—they, at least, are not neglected ; but praise is due to the director of these entertainments for the attention he bestows on the less generally known among the dramatic preludes of Cherubini, all of which, without exception, are masterly. The splendid orchestra, too, which Dr. Wylde has got together is just calculated to set them off to advantage, for in brightness as well as pomp of instrumentation no composer has excelled Cherubini. Two concertos, one for piano and one for violin, were introduced on each occasion. At the second concert the pianist was Mr. John Francis Barnett, whose reputation steadily advances, and who in Beethoven's concerto in C minor obtained unanimous applause. At the third, a pianist who was in England in 1852, and wo believe played only once in public, came forward with the grandest concerto of the same master (No. 5, in E flat). The name of Herr Alfred Jaell is well known to amateurs, both in the old world and in the new; and that his abilities will meet with fair recognition in this country, should his visit be repeated, may be taken for granted. The violin concertos were Spohr's in E minor and Mendelssohn's in the same key, the player in each instance being Herr Joachim, whose unequalled performances have undoubtedly up to this moment been the musical events of this extraordinarily prolific season. As a master of his instrument Herr Joachim has not, nor, within the memory of the present generation, has he had, a rival. In addition to this he possesses the secret of moving his audience by a reading of great works as fervid, graceful, and poetical as it is classic and correct. Though Beethoven is his ideal (and no violinist ever played Beethoven like him) he is as much at Jiome with other composers—which, if it had not already been proved over and over again, his incomparable execution (as usual, from memory) of the concertos in E minor of Spoilr and Mendelssohn, works that have nothing in common but their excellence, would have fully established. The enthusiasm created "by each of these performances beggars description. Dr. Wylde was unusually liberal in providing for the entertainment of his patrons at these concerts. To the rich instrumental treats thus briefly glanced at, were added vocal performances of the highest merit—atone performance, the duet-singing of Miles. Carlotta and Barbara Marchisio; at the other, some pieces by Mozart and Weber, with Mile. Titicns for the singer.

"The third performance of the Musical Society of London (held, like Dr. Wylde's Concerts, in St. James's Hall) was one of uncommon interest. Mozart's colossal 'Jupiter,' the symphony of the evening, was perhaps, on the whole, never played more grandly, and never enjoyed with moro heartiness. The audience, too, were in raptures with M. Meyerbeer's grand overture, composed for the International Exhibition, the elaborate details of which were now for the first time clearly revealed, and, desirous of hearing it again, expressed themselves to that effect loudly and with long-continued plaudits. Perhaps the conductor, Mr. Alfred Mellon, considered the overture too long to repeat in extenso, and was unwilling to pay M. Meyerbeer the ill compliment (so frequently payed to Rossini, when his Guillaume Tell is redemanded) of merely, pro forma, going through the 'pas redouble' At any rate he did not consent, and thus a great number who arrived late (servo them right, by the way) only heard the concluding portion; others, who arrived later, none at all. A new piece of such consequence ought not to have been placed first in the progrnmme. So remarkable was the performance, however, and so vivid the impression it created, as to cause general regret that M. Meyerbeer had not remained another day in London to hear it. The fourth act of Mr. Arthur Sullivan's Tempest—comprising the overture, the duet for Juno and Ceres (Misses Parepa and Robertine Henderson), and the ' Dance of Reapers'—was placed at the end of the first part of the concert, and though (the duet excepted) not quite so irreproachably executed as under Herr Auguste Manns at the Crystal Palace, was listened to with equal satisfaction and received with equal favour. The 'Dance of Reapers' was encored, and (being much shorter than M. Meyerbeer's overture) at once repeated. The Messrs. Alfred and Henry Holmes (brothers), pupils of Spohr, have long been celebrated for their performances of that great master's fiddleduets ; and in the Concertanto (with orchestral accompaniments) in B minor, on the present occasion, were eminently happy. No applause could have been more genuine than that which greeted them as they retired from the orchestra. Besides her share in Mr. Sullivan's music, Miss Parcpagave Mendelssohn's fine scena, 'Infelice,' in a style which, often as it has been delivered in public by singers of renown, has probably never been surpassed* The other vocalist was Mr. Santley, who introduced a very effective piece from Hnmmcl's little-known opera of Mathilde de Guise (instrumented for the occasion by Mr. Alfred Mellon). The singing was just as good as the music, and the excellence of that will doubtless lead to further researches among the vocal works of the celebrated pianoforte-composer. These pianists and composers for the piano, by the way, seem to have a happy 'knack' at writing songs—witness Dussek, among the dead, Sterndale Bennett, among the living, and others. The concert terminated almost as effectively as it had commenced with the overture to Spontini's Eastern opera, Nourmahal—tho brilliant instrumentation of which displayed to admiration the strength of Mr. Alfred Mellon's orchestra.

(To be continued.) "P. P."

[More musical performances of various descriptions have taken place since the opening of the International Exhibition than was probably ever the case at any former period, even in London, the most music-loving city of the world. To keep a regular account of all of them was simply out of the question. Were we to notice in uninterrupted succession the public transactions of the concert-room from one end of the season to the other, we should not have a corner left for other matters. Nevertheless, so many good things have been doing this summer, that a bird's-eye retrospect at the principal incidents may not be unacceptable, while it will amply serve the purpose. "P. P." is therefore thanked, and welcome Ed. M. W.]


"sib,Can you inform me whether Mrs. Merest (late Miss Hawes) was the vocal instructress of the Princess Mary of Camhriilge, as I see her concerts are under the patronage of the Princess and her mother t"

Sir,—In answer to the above question, I beg to state that, although' I have been the vocal instructress of a large number of the nobility, I havo not had the honour of teaching the Princess Mary Adelaide. I have been well-known to the Royal Family all my life (and my father before mc) •, and whenever I have applied for their patronage for my concerts, my request has been granted immediately.—I remain, sir, your obedient servant, Maria B. Merest.

7 Adelphi Terrace, Strand, W.C., July 31, 1862.


Sir,— In your impression of the 26th inst., page 471, under heading "Olympic Theatre," you announce the " condemnation of a new fiveact play in blank verse, entitled the 'Warden of Galway.'"

The managers court tho most severe criticism ; but when I tell you that no new five-act play has ever been produced under the present management— that I never in my life saw a play called " tho Warden of Galway " in England (it is a stock piece in Ireland)—and that it is utterly beyond the province of this theatre to produce such a play, however good—you will, I think, agree with me, that 1 only ask for what is fair and right when I request that you will take notice of this disclaimer in your next number.—I am, Sir, yours truly,

W. Smell,

Olympic Theatre, July 30. (For Messrs. Robson & Emden).

(From Punch.)

My Dear Gladstone,—The Royal Academy of Music is in want of funds, and I hear that a Memorial has lately been addressed to you to notify the fact. Of course I need not ask if you have read

this composition, for I know that, as a conscientious servant of the State, you carefully peruse every paper put before you, with as much pains and attention as you do your weekly Punch. I need therefore scarce remind you that, besides a number of equally good grounds for claiming aid from your Exchequer, it is urged in this memorial:—

"That the good effect upon the million of the introduction of practical music into the course of national education must afford her Majesty's Government perfect satisfaction with this important measure. As the public power of comprehending an art increases, to elevate the character of those whose duty is both to form the public taste and gratify it becomes more and more indispensable. Music has made prodigious progress in England during tho last forty years, and it now holds prominent importance in the intellectual dcvelopement of the country; coincident with this course of advancement have been the workings of the Royal Academy of Music, and the national advantages that might issue from such an Institution would increase with the natural capacity to benefit by them. The revived importance of Church Music is a significant feature of this progress; and another is the improvement in the Music of the Army; in both of which departments it would surely be of valuo to the authoriticsahat have the granting of appointments, could they refer to certificates as to the competency of candidates for such appointments from an institution like the academy, which was dignified by the countenance of Her Majesty's Government. In the consideration of tho desirability and the capabilities of the academy, the immense importance of music as furnishing occupation to the industrial classes must be taken into account, many thousands of the population being at present engaged in the facture of musical instruments, the engraving and printing of music, Sec, and the extent of employment of this nature increases with the increase of the knowledge of tho art throughout the country."

Surely, my dear Gladstone, for these reasons alone the Academy of Music is deserving of support; and although only a few nights of the session now are left to you, I am sure you will name one of them to bring the application for a grant before the House. What is wanted the memorialists have taken care to state; and you will not doubt their competence to judge of it when you see among their signatures such names as Bennett, Garcia, Smart, Benedict, Macfarren, Leslie, Mellon, Wallace, Tietiens, and Jenny Lind:—

"The Academy is not now to be considered as an experiment; tho forty years' experience of its operations, through all its vicissitudes of fortune and of management, is a sufficient test of its capabilities. These capabilities arc restricted by the extent of its funds, and qualified by tho necessary means of acquiring these funds. It is not always tho most gifted individuals who have the best pecuniary resources, and it is therefore deeply to be regretted that the present large rate of annual payment (three and thirty guineas) should be required from the pupils. While, therefore, tho grant by Government of a building for the carrying on of the operations of the establishment (a support enjoyed by all tho scientific and artistic bodies in the metropolis) would greatly relieve the academy of its apprehensions, the concession of yet more liberal assistance would give the power of diminishing the charges to students, and increasing the number of free scholarships, and thus vastly enhance tho benefits of the^Iustitution."

Being devoted to "the spreading of a pure knowledge of art and the extending of its refining influence," the Academy of Music, if helped liberally by Government, might really work such wonders as one hardly dares to guess at. If only properly encouraged, there is very little doubt that its "refining influence" might eventually be extended to street-singers and musicians; and that, being instructed in a "pure knowledge of art," these performers would no longer cause such torture as they now do to the ears of all who hear them. Much as I now loathe, detest and execrate street-music, I should not complain if Joachim came once a wee!c or so and played a bit of Beethoven awhile beneath my window; nor should I growl or grumble if a Mario or a Sims Reeves were now and then to serenade me with Rossini or Mozart. Well, you see if the Academy of Music be supported, there really is no saying how the Joachims and Marios and Sims Reeveses may be multiplied; and I am sure that this reflection will be in itself sufficient to incline a liberal Government to be liberal in its grant. Music, it is said, has done much for the million; and something short of a million might do much for music.

With just a nudge to Pam to back you in the matter, I remain, my dear Gladstone, yours most sincerely. Punch.



Performed with the greatest success at the Theatre Royal, Drury Lane.

"Oh I Glorloui Age of Chivalry." Duct. Sung by Mile. Jenny BAiiand

Mlnfl Emma Hbywood

"The Solemn Words hit Lips have spoken." Grand Air. Sung by Mile.

Jenny Bach

"The Love you've slighted." Ballad. Sung by Mile. Jenny Bad*

"Stratagem li Woman's Power." Ballad. Sung by Min Emma Heywooo "Love is a gentle Thing." Ballad. s by Miu Kmma Hbywood ... "A Young and Artless Maiden." Romance. Sung by Herr Reiceiardt There's Truth in Woman still." Romance. Sung by Herr Heiciiardt ...

"The Monki wero Jolly Boys." Ballad. Sung by Herr Formes

"In my Chateau of Pompcmik." Aria BuiTa. Sung by Herr Former ...

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Brlnley Richards' Fantasia, on " Once or Often" 4s. Od.

F.mlle Berger's Fantasia, on " Once for Often" 3s. Od.

"Fontalnblenu Quadrille," by Strauss. (Handsomely Illustrated In Colours) 4s. Od.

"La Belle Blanche Waltz," Sta 4s. Od.

"Mr. Glorer's operetta is a decided, and what' s better, a legitimate,' hit.' The songs before us have already attained a well-merited popularity. 'The monks were jolly boys' is as nice as the best of the old English ditties, harmonised with equal

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Jenny Baur) has a melody of charming iy is A young and artless maiden ' (for

qua'intn'css and sklll.'and thoroughly well suited to the voice of Herr Formes,
love you've slighted still Is true' (for Mile. Jenny Bau
freshness. Not less a model ballad in its way Is A y<

Herr Reinhard t sets out with an elegantly melodious phrase. Perhaps more to our liking, however, than any of the foregoing, excellent and genuine as they are. Is 'Love is a gentle thing" (for Miss Emma Heywood), which enters the more refined regions of the ballad-school, and attains an expression as true as it is graceful. The opening holds out a promise which the sequel entirely fulfils."— Musical World,

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THE FOLLOWING COMPOSITIONS, by this eminent Composer, are published by DUNCAN DAVISON & CO,:


"Hers) on the mountain," with Clarionet obbligalo... ... ... ...

Violin or Violoncello in lieu of Clarionet, each Near to thee," with Violoncello obbligato ... ... ... ...

•* The Flschermalden" ... ... ... ... ... ... ■*•

The Lord's Prayer for Four Voices, with Organ ad lib. ...

Separate Vocal Parts, each ... ...

"This house to love Is holy." Serenade for Eight Voices ...

Separate Vocal parts, each ... ... ...

"Aspiration," for Bats, Solo, and Chorus of 3 Sopranos, 2 Tenon, and 1 Bait

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"I'll think of thee " (Ballad) 8t.

"Alice, where art thou " (in B flat and D flat) 3s.

"Alice, Qua) inclita Stella" (In B flat and A) 3>.

: Duncan Davison & Co., 244 Regent Street, W.

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"Alice" (Transcription,by J. Ascher) 4s.

a (Transcription facile, T BerohotT) ... M ... 3s.

London : Duncan Davison Sc Co., 244 Regent Street, W.

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"My gentle Elodle" (Sung by Mr. Santlet) 3s.

"Mine love I yes or no?" ... Se.

London: Duncan Davison & Co., 244 Regent Street, W.

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(Characteristically Illustrated). s. n

'What Next Quadrilles " (Robin's Last), with cornet accompaniment ... 4 0

'The Spirit Rapping Polka," dedicated to all spirit-rappers' mediums ... 3 0

■ The Llewellyn Waltz," dedicated to Mr. Bakewell, B.M. 3rd Royal West

minster Militia ... ... 3 6

London: Duncan Davison & Co., 244 Regent Street, W.

EW PIANO MUSIC, by G. W. Hammond.

Romance in G major, price 2s.
Second Romance (in A flat), price 2s.

11IDYLLE," dedicated to the Lady Mary Windsor Cuvr, price Si/

London: Duncan Davison & Co., 214 Regent Street, W.


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