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Trevelyan's, and rallied her on her admiration of Shakspeare. “Which of his characters do you like the best ?" said he ** Desdemona," said | BOOSEY & SONS' SHILLING MUSIC. the lady. “Ah, of course," was the reply, “ for she was the only one who ran after a black man.”- Once a Week.

ELEMENTARY WORKS,

Bookey's Shilling Pianoforte Tutor. Founded on the best Advertisements.

. Works extant, and including the Theory of Music, and a large variety of Exer.

cises, Lessons, and Studies. 36 pages. Czerny's 50 Best Exercises. Selected from the 101. 24 pages. ls.

Czerny's Etude de la Velocite. In 3 Books, Is, each ; or comBOOSEY'S

plete, 25. 6d. Czerny's 101 Exercises. In 2 Books, 18. each, or complete, 2s.. Herz's Exercises and scales. 1s.

Bertini's Celebrated Studies. Op. 29. in 2 Books, Is. each. - A NEW SELBS OP

Boosey'100 Exercises, Studies, and Extracts, for the SHILLING BOOKS,

VIOLIN. Selected from the Works of the Great Masters. Is.

Boosey's Shilling Violin Tutor. An entirely new system. COMPRISING

Edited by George Case. 24 pages,

Booney's Shilling Flute Tutor. Edited by Clinton and Pratten. STANDARD AND POPULAR PIANOFORTE AND VOCAL MUSIC

24 pages. 07 EVBRY DESCRIPTION.

Boosey's 100 Exercises and studies for the Flate. Selected

from the Works of the great Flute Composers. Edited by R. S. Pratten. Is. Fach Book contains from Forty to Fifty pages of Music, printed on excellent paper, 1 Booney's Shilling Cornopean Tutor. Edited by Stanton Jones, Demy Quarto.

and including selections from the Works of Caussiņus, Forestier, and Carnaud

24 pages. Boosey's Shilling Concertina Tntor. Edited by George Case.

26 pages. No. 1. Twenty Songs by Mendelssohn . . . Boosey's shilling Harmonium Tutor. 24 pages, large size. » 2. Twelve Songs by Balfe . . .

Boosey's Shilling Singing Method. Containing Exercises and . .

Solfeggi, by Balfe, Rossini, Vaccaj, Bordogni, Crescentini, &c. 24 pages. „ 3. Fourteen Songs by Verdi . . , .

Rodo's 25 Caprices or Studies for the Violin. Is. 68.

Fiorillo's 36 Caprices or Studies for the Violin. Is. 6d. 4. Twenty Songs of the Christy Minstrels.

Kreutzer's 40 studies or Caprices for the Violin. Is. 6d. » 5. Fifty Waltzes ; . . . . . . . 15.

. BOOKS OF TUNES. 6. Twelve Sets of Quadrilles . . . . . .

VIOLIN. 7. Fifty Polkas and Galops . . . . .

Do Beriot's 7 Airs for the Violin with Variations complete. is. „ 8. Twenty-five Operatic Gems by Verdi, for Booney's 100 German Walzes by Strauss, Lanner, and Labitzky. 18.

Piano . . . . . . . . . 1s. Boosey's 100 Dances. Second Series. ls. All the Songs have Pianoforte Accompaniments and English Words throughout under

Booney'* 100 Dances. First Series. 1s. . the Music.

Boosey's 100 Reels, Country and other Dances. 18. The Polkas and Gallops are published with their Trlos and Second Parts complete.

Booney's 100 Ballads for the Violin. ls.
Boosey's 100 Operatic Airs for the Violin. 1s.

Boosey's 10 standard Overtures for the Violin. ls.
TO THE TRADE, :
Prospectuses, Specimen Pages, and Show Boards may be had on application to

GERMAN CONCERTINA.
BOOSF. Y and Sons, 28 Holles Street. .

Boosey's 100 Dances and songs for the German Con.
CERTINA. 15.

CONCERTINA.

Boosey's 100 Dances for the Concertina. Is.'
EVANS’s

Roosey's 100 Melodies for the Concertina. 18.
Booney's 100 Sacred Melodies for the Concertina. 18

FLUTE.

Booney's 100 Operatic Airs for the Flute. ls.
MAY BE HAD IN EVERY POSSIBLE VARIETY,

Boosey's 100 Dances for the Flute. 1s.
WITU GERMAN PEDAT. BÆLDS (IWO OCTAVES AND A TUIRI),
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CORNET-A-PISTONS.
AND

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Boosey's 100 Operatic Airs for the Cornet-a-Pistons. Is.
At prices fron 10 to 140 Guinens,

Boosey's 25 Duets for Two Cornets-a-Pistons. 1s.
Also with a sell - acting Mind Apparalus.

Booney's Complete Operas for the Flate. Price 18. cach.

1. Les Huguenots-2. Robert le Diable-3, Masaniello-4. Ernaui-5. RigolettoTHE HARMONIUM AT TEN GUINEAS

6. Puritani-7. Sonnambula-8. Norma-9. Lucia-10. Lucrezia-ll. Il Trovatore

-12. Don Juan. Possesses the same superior tone and touch that characterise all Evans's English Harinoniums, and is admirably suited for a Chapel or School. Room. It is in a hand

| Boosey's Complete Operas for the Violin. Price Is. each. some solid French-polished Oak case.

1. La Sonnambula, Bellini-2. Lucrezia Borgia, Donizetti-3. Norma, Bellini

4. Elisire d'Amore, Donizetti_5. Lucia di Lammermoor, Donizetti-6. Ernani, THE HARMONIUM AT SIXTY-FIVE GUINEAS

Verdi-7. Masaniello, Auber-8. Don Pasquale, Donizetti-9, I Puritani, BeHini

10. Les Huguenots, Meyerbeer-11. Il Barbiere, Rossini-12. Don Juan, MozartWith Double Row of Keys, is the most perfect instrument ever manufactured. The

13. Il Trovatore, Verdi-14. The Bohemian Girl, Balfe-15. La Traviata, Verdidemnand for this Harmonium being so great, orders should be always sent in good time

16. Rigoletto, Verdi-- 17. Maritana, Wallace-18. Le Prophète, Meyerbeer-19. La to prevent disappointment.

Fille du Régiment. Donizetti-20. Luisa Miller, Verdi-21. Martha, Floton Full particulars of Evans's English Harmoniums may be had or BOOSEY and SONS,

22. Satanella-23. Dinorah. Holles Street, London,

Boosey'x Violin Classics.

ENGLISH HARMONIUMS

: Printed by GEORGE ANDREW SPOTTISWOODE, of No. 10 Little New Strect, in the Parish of St. Bride, in the City of London, at No. 5 New-street Square, in the snid Parish.

Published by Joux Boosky, at the Office of BoosEY & Sons, 28 Holles Street.- Saturday, September 1, 1000.

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“THE WORTH OF ART APPEARS MOST EMINENT IN MUSIC, SINCE IT REQUIRES NO MATERIAL, NO SI VJECT-MATTER, WHOSE EFFECT MUST BE DEDUCTED IT IS WHOLIASTORM AND POWER, AND IT RAISES AND ENNOBLES WHATEVER IT EXPRESSES” — Göthe

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. SUBSCRIPTION_Stamped for Postage-20s. PER ANNUM Payable in advance by Cash or Post-Office Order tỏ BOOSEY & SONS, 28 Holles Street, Cavendish Square, London, W.

VOL. 38-No. 36

SATURDAY, SEPTEMBER 8, 1860')

I ! PRICE

4. Unstamped

15d. Stamped.

MHE MIDLAND COUNTIES VOCAL UNION,

ROYAL ACADEMY of MUSIC.-The Michaelmas FASTERN O.PERA HOUSE. PAVILION

I Term commences on Monday, September 17th, 1860. Candidates for admission U THEATRÉ, Whitechapel Road. Sole Lessee, Mr. Join Douglas. Entirely
must attend at the Institution for Examination by the Board of Professors, on Satur redecorated and reconstructed. Open every Evening, with an English and Italian Opera
day, the 15th inst., at One o'clock.

Company. First-class artistes. Signors GIULETTI, ONORATI, RULETTI, MAINETTI,
By Order of the Committee of Management,

Salvi, and Moresp. Mdmes. LaNCIA, VERONI, LETLAND; &e. Miss ANNIE LENG,

J. GIMSON, Secretary. Messrs. AUGUSTUS BRANAM, LESLIE, W.M. PARKINSON, EPMUND ROSENTHAL, OLIVER
Royal Academy of Music, D S ,

SUMMERS, R. MORROW, J. W. MORGAN, EVELYN, &c. Band and Chorus, 100 per 1 Tenterden Street, Hanover Square, September 5, 1860.

formers. On Saturday, September 8, Monday, September 10, and following Bvenings,
to commence at a quarter-past Seven, with the Opera FRA DIAVOLO, in English,

supported by Messrs. A, BRAHAM, 'W: M. PARKINSON, E. ROSENTHAL, O. SOMMERS. M AD. LAURA "BAXTER begs to announce that she

Mad. LANCIA, Miss ANNIE LENG and the Entire Company. On Tuesday and Friday will give a SERIES of PERFORMANCES of SACRED and MISCELLA (ITALIAN NIGHTS). To commence with the Opera, on Tuesday, LA TRANEOUS VOCAL MUSIC during the ensuing Season. Mad. LAURA BAXTER will be | VIATA; and on Friday, LUCREZIA BORGIA. by the Italian artistes. To conassisted by eminent artists, and also by her Amateur and Professional Pupils. Com clude every evening with a Musical Burletta. munications to be addressed to Mad. LAURA BAXTER, at her Residence, 155 Albany Street, Regent's Park, N.W.

MTEYERBEER'S GRAND MARCIT for the SCHILLER

AT FESTIVAL, performed at the Floral Hall and Crystal Palace Concerts, as MISS AUGUSTA THOMSON begs to announce that

Solo or Duet for Pianoforte.-Cramer, Beale, and Co., 201 Regent Street. 1 she will remain in Town for the Winter, LAN letters for Town and Country Engagements, Oratorios, &ci, to be addressed 24 Holles, Street, Cavendish Square, W.

" MOOD NIGHT," by I. LIEBICH. Reichardt's THE ARION (Eight-Part 'Choir). -_ Conductor, Mr.

*UT charming Wiegenlied (Cradle Song), transcribed for the Pianoforte by 1.

Liebech (forming No. 2 of Two Popular Melodies for the Pianoforte, by the above 1 ALFRED Gilbert. – The Members are informed that the next Meeting will author), is now published, price 25., by Duncan Davison & Co., 241 Regent Street, W. take place at 13 Berners Street, on Thursday, October 9th, at 8 o'clock precisely.Prospectuses of the Society may be obtained on application to the Conductor,

F. F. REILLY, Hon. Sec. " MOOD NIGHT,” by 'R! "ANDREWS. Reichardt's

U charming Wiegenlied (Cradle Song), transcribed for the Pianoforte by the

above popular author, is now published. price 28., by Duncan Davison & Co., 244 ST. MARTIN'S HALL.-SOCIETY of BRITISH

Regent Street, W., where R. ANDREWS'S transcription for the Pianoforte of
D MUSICIANS.—The Committee have the gratification to announce that the " THOU ART SO NEAR AND YET SO FAR? (Reichardt) may be obtained,
valuable Library has miraculously escaped destruction by the late Kire, apd, will be price 2s.
Re-opened to the Members and Associates as soon as arrangements can be made, of
which due notice will be given.
September 3, 1860. ". w. W.GRICE, Secretary, Committee Room No. 4.. NEW SONGS by BALFE.--"I LOVE YOU," sung

I by Mr. Sims Recves with such immense success at Mr. Martin's (Exeter Hall),
Mr. Lindsay Sloper's, and Miss Susannah Cole's Concerts (St. James's Hall), and at

Mr. Balfe's benefit concert at the Royal Surrey Gardens before 10,000 persons, 8s.;
1 consisting of the following Artistes-Miss Amelia Hill, Mrs. JOHN HAYWARD, as well as Balfe's two charming Ballads, “Oh! take me to they heart agaio," 2s.
Mr. ROBERT MASON, Mr. W, T. BRIGGS. Condaetor, Mr. W. 0. STOCKLEY, may be sung by Miss KATE RANO (mezzo soprano) at Mad. de Vaucheran's Concert; and
Engaged for Oratorios or Miscellaneous Concerts, with or without Solo or Orchestral “ I'm not in love, remember," 2s.6d., sung by Mile. SEDLATZEK at the fashionable
Instrumentalists, – Applications for Terms, &c. to be made to the Secretary, Mr. 1 Concerts at Campden House, are published by Duncan Davison and Co. 244 Regent
W.T. BRIGGS, Cathedral Choir, Worcester ; or to Mr. W. C. STOCKLEY, 120 Moseley Street, corner of Little Argyll Street, W.
Road, Birmingham.

LOVE YOU.” By EviLE BERGER. SIMs REEVES'
AS MORNING GOVERNESS, at Bayswater or Ken-

popular Ballad, composed expressly for bim by Balse, arranged for the PianoA sington.- A Lady, who has great pleasure and much facility in teaching, wishes forte by the above popular author, is now published, price 3s., by Duncan Davison &

RE.ENGAGEMENT AS DAILY GOVERNESS, in consequence of the family she | Co. 244 Regent Street, w.
has hitherto instructed being about to leave England. N.B.LA satisfactory iesti.
monial can be obtained from the lady whose family she has instructed for the last twelve
months.-Apply by letter, post paid, to L. C., care of Messrs. Boosey and Sons, 28 “ T. LOVE YOU." By I. LIEBICH, SIMS REEVES'
Holles Street, Cavendish Square.

popular Ballad, composed expressly for him by Balre, transcribed for the

Pianoforte by 1. Liebich, is now published, price 2s. (forming No. 1 of Two Popular I MUSICAL EDUCATION. 10. ,1., 24. Melodies for the Pianoforte by the above author), by Duncan Davison & Co., 244 YOUNG GENTLEMAN, of good education, and

Regent Street, W TRAY 12201YHVISAH YAM address, who can command a premium of £100, may be received for Five Years into a first-class Musical Instrument Establishment, of toirty years' standing, in the “T NEVER KNEW HOW DEAR THOU WERT." West of England. We would be instructed in the Organ, Pianoforte, and Singing,

New Song, by H.K. MORLEY, composed expressly for and sung by Miss and a Salary would be given in the latter three years, Apply to S., care of Messrs.

LASCELLES (the Poetry by CATHERINE WARFIELD) is just published, price 28. 6d., by Boosey & Sons, 28 Holles Street, Cavendish Square, Lo

Duncan Dayison and Co. 244 Regent Street, W.

JAM
MUSIC TRADE.- Wanted, an ASSISTANT of good PRASS BANDS. -BOOSEY’S QUICK-STEP

JOURNAL contains Quick Steps, Troops, Marches, &c., printed in large type
address, who thoroughly understands tl ne busir
James Russell, 125 High Street, Oxford.

on small paper for pasting on Cards. Each Namber contains Four Popular Marches,

price 7s. for Large Band, and 4s. for Small Band.-Boosey and Sons, Holles Street. MUSIC TRADE,— Wanted, an ASSISTANT for the

BOOSEY'S BRASS-BAND JOURNAL, published I Country, of good address and experience in the above trade. Liberal salary.

D every Month Apply, by letter only, to A. B., Messrs. Cramer's, 201 Regent St

100 Numbers are published, containing Grand Selections Hom all the best Operas, Quick Steps, Polkas, Quadrilles, Waltzes, &c., arranged for Large )

Brass Band, 7s. each, and for Small Band, 4s. each. A very liberal allowance to the NOTICE to the TRADE.-The BUCKLEY'S profession. List of contents gratis.-Boosey and Sons, Holles Street. A

I SERENADERS' AMERICAN MELODIES are COPYRIGHT, and can
only be obtained of the Publishers, Messrs. Hopwood and Crew, 12 New Bond Street,

THE MAZURKAS-i of CHOPIN, edited by JIMAS
London, W. The Second Edition of " I'd choose to be a Daisy" is now ready. The DAVISON, comple e in One large volume, music size (100 pageswath Gritical
Buckley's Serenaders will make their first appearance in London early in October. I and Biographical Preface by the Editor, and Portrait of Chopin, prices or anerb
Full particulars will be duly announced..

*

bound in crimson cloth, gilt edges, price 10s. 60.-The Atheneum of Tulsidas

* This is a very handsome publication. The price is cheap, the pagesis olear and A

type is good. TUNER, who understands Repairing, is desirous

A careful preface by Mr. Davison serves as Overture to these azar

and, as far as criticism and analysis go, is competent and well reasoned out." A of a SITUATION in Town or Country.Address A. Z., & Cheyne Row, d o Chelsea, S.W.

It Bonsav and Sons, Holles Street.1033 Sinks:

AN
Olot 900

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NEWSPAPER

An ACCOUNT of the TONIC SOL-FA METHOD of TEACHING to SING.

By JOHN CURWEN. With a corrected lilt of publications, and testimonies to the usefulness of the method, with a number of Examples and Illustrations. Four copies for One Fenny.

GRAMMAR of VOCAL MUSIC on the TONIC SOL-FA METHOD.

By JOHN CURWEN. This method seeks to cultivate the voice, ear, and understanding lu connection with the real nature of music itself. Price 2s. 6d.

The STANDARD COURSE of LESSONS on the TONIC SOL-FA METHOD.

By JOHN CURWEN. A simple and practical development of the method, for pupils as well as teachers; so written that persons accustomed to the Established Nutation can easily understand it, and accompanied by courses of Exercises in the Old as well as in the New Notation. Price la. Gd.

The TONIC SOL-FA REPORTER and MAGAZINE of VOCAL MUSIC for the PEOPLE.

In 90 Penny Numberi, or tn 3 volumes, each of 24 numbers, 2s. each. The current monthly Reporter (price Id.) contains, besides 8 pag< - of music, 16 pages of information and intelligence. Its circulation approaches 10,000 copies a month.

TONIC SOL-FA METHOD.

For information in reference to the locality of Classes or Teachers, apply to Mr William Thodcy, Richmond House, Plaistow, London, B.

CLASSICS of VOCAL MUSIC in the TONIC SOL-FA NOTATION.

f. <f.

ROMBERG'S SONG OF THE BELL 0 9

MENDELSSOHN'S "AS THE HART PANTS" 0 G

HAYDN'S "SPRING" 0 6

HANDEL'S "MESSIAH" 1 6

HAYDN'S "CREATION" .". 1 6

BACH'S MOTETT, No. V 0 6

HANDEL'S "ISRAEL IN EGYPT" I 6

HANDEL'S "DETTINGRN TE DEUM" 0 G

The CHILD'S OWN HYMN-BOOK,

Edited by JOHN CURWEN, Contains 110 pieces suitable for Sunaay School Anniversaries. The increasing popularity of this work is shown in the sale of 240,000 copies in the last year. Price id.; or, In cloth, 2d. For wholesale prices, apply to the Publishers as below.

The CHILD'S OWN TUNE-BOOK

Companion to the above. Price Gd.

The SABBATH HYMN and TUNE-BOOK,

Edited by JOHN CURWEN, Harmonies revised by JAMES TURLE, Esq., of Westminster Abbey, presents at every opening a Tune, with six or seven Hymns carefully adapted to that tune, and marked for expression. 77 Tunes and 467 Hymns. Large type. Edition A, in the Established Notation, price Is. Gd. Edition B, in the Tonic Sol-fa Notation, price Is. 6d.

Edition C, the same as A, with "Congregational Anthems" and "Bible Chants,"

cloth, turned edges, price 2s. Edition D, the same aa B, with "Congregational Anthems " and "Bible Chants,"

cloth, turned edges, price Is. lOd.

London : "WARD and CO. 27 Paternoster Row, E.C.

BERTINI'S STUDIES.

EDITED BY CIPRIANI TOTTER.

TVITU INTRODUCTORY BEJIARK3 OH THH STYLE OP PLATINO.

Fart _ »• <*■

1. TWENTY-FIVE STUDIES (Introductory to J. B.

Cramer's), Op. 39 8 0

In this Editiou, and Op. 32 exclusively, arc to be found the most recent
alterations by the Author.

S. TWENTY-FIVE PREPARATORY STUDIES (Sequel to

Op. 29). Op. 32 9 0

8. EIGHTEEN OCTAVE LESSONS (for both hands),

Op 84 4 0

4. "LIndispensable," for small hands—TWBNTY-FIVE

EXERCISES or STUDIES progressively arranged for Young Pupils.

Book 1, Op. 100 ... 4 6

5. Ditto ditto Book 2, Op. 100 ... 4 6

6. TWENTY-FIVE CHARACTERISTIC STUDIES,

Book 1, Op. 66 ... 6 0

7. Ditto ditto Book 2, Op. 66 ... 6 0

8. Ditto ditto Book 3, Op. 66 ... 6 0

9. Ditto ditto Book 4, Op. 66 ... 6 0 *a* The Studies, Op. GC, arc dedicated to the Royal Academy of Music of Paris.

London: U.;M ILLS and SONS, 140 Mew Bond Street.

FERRARI'S WORK

ON

THE VOICE AND SINGING,

Price He.

MAY BE HAD AT HIS RESIDENCE,

DEVONSHIRE LODGE, PORTLAND ROAD, PORTLAND PLACE, And at all the Principal Music Sellers.

M Of all the treatises on the cultivation oY the voice that hare appeared for many years. It Is the most sensible, concise, and useful."—Daily News.

"There i- more sense in this work, than we find hi nine out of ten publications of a simitar kind."—Athenaum.

*' Here is a really sensible work.'*—Musical World.

piIEAP MUSICAL WORKS, published by BOOSEY

X^J and SONS, Holies Street, London (all post free):—Rossini's Stabat Mater, f

8s.; Mendelssohn's Songs, without Words, complete, with Portrait and Introduction by J. W. Davison, cloth. 7s. 6d.; Meyerbeer's Dinorah, complete, for Pianoforte Solo, 7s. Gd.; the Juvenile Pianoforte Album, 12 pieces, illustrated and bound, 3s. Gd. ; the Operatic Album, 100 gems from the newest Operas, for Pianoforte, in cloth, 12s.; Boosey's 100 Reels and Country Dances, for Pianoforte, 2s. Gd.; Boosey's 100 Waltz*, by Strauss, Lanner, and Labitzky, for Piano, 3s.; Cxerny's Etude de la Velocity 2s. Gd.; Czerny's 101 Exercises, 2s.; Boosey's Part Song Miscellany, 18 Original Compositions, handsomely bound, 5s.; the Harmonium Museum, 100 Sacred and Secular subjects for Harmonium, with Instructions, 7s. Gd.; Engel's Harmonium Ope rati e Album, 60 Gems for Harmoniums, 7s. 6d.; Christy's Mtuslrels Album, 24 Songs in One Book, 2s. 6d.; the Verdi Al'>umt 25 Songs, fn English and Italian, As.; Dinorah, for Voice and Piano, complete, I2s.

SANTA LUCIA, by WILHELM GANZ. A brilliant and effective Transcription for the Piano of this Popular Air. Price 3*. London: Ashdown and Parry (successors to Wessel and Co.), 18 Hanover Square.

JOHN FIELD'S SLX CELEBRATED NOCTURNES,

ll edited by Franz Liszt. Price 2s. each. London: Ashdown and.Parry ( sors to Wessel & Co.), 18 Hanover Square.

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"POOD NIGHT," New Song by A. Reichardt,

\_F Comnoser of "Thou art Bo near and yet so far," is published, with Fnglish and German Words, and a Portrait of Herr Reichardt, price 2a. bd. by Duncan Davison tc Co. 241 Regent Street, W.

WILBYE COOPER'S NEW SONG, "The Meadow Gate," composed expresslvfor him by Georcb B. Alleh, is now published,

price 2s. Gd. by Duncan Davison and Co. 244 Regent Street, W.

"POOD NIGHT," Reverie by Kuhe on Reichardt's

popular Wiegenlied (Cradle Song), is now published for the Pianoforte, price 3s. by Duncan Davison aud Co. 244 Regent Street, W.

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EYERBEER'S FOURTH MARCHE AUX FLAM

BEAUX (*' Royal Wedding March "), composed in honour of the Marriage of the Princess Royal of England witli Prince Frederick William of Prussia, which was played with such Immense effect by the Band of the Guides at the Fete of the Orpheonlstes at the Crystal Palace, is published for the Pianoforte, price 4s., by Duncan Davison & Co., 244 Regent Street, London, W.

"TF I COULD CHANGE AS OTHERS CHANGE,"

J- composed by M. W. Balke expressly for Madame Lai-ha Baxteb. and sail* by her with distinguished success at St. James's Hall And the Royal Surrey Gardens, li now published, price 2s. Gd. by Duncan Davison and Co, 244 Regent Street, W.

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Some pieces signed by an unfamiliar name—Anton Ree— have sufficient cleverness combined with musical feeling to atone in a great measuro for their want of originality, amid other shortcomings. Published at Kiobenhavn (Copenhagen), we are unable to explain in what manner they found their way into the fish-pond we have recently begun to explore. At the same time, minnows though they be, we are glad to look at them. The least pretending, though not the least pretty, are three dance pieces (Op. 11) — "Ecossaise," "Polska," and "Bolero." Of these the most spirited and characteristic is the "Bolero." The "Ecossaise" has not a vestige of Scottish character ; but the "Polska " (the name of a Swedish National dance in threefour measure—not a bit like its near namesake, the Polka) ia qpaint and charming. "Deux Morceaux de Piano" (Op. 10) though infinitely more pretending than the foregoing, are not so satisfactory. "La Plainte" is an andante; "La Joie" is an allegro; both " Plainte" and "Joie" consisting of a sort of hash of Sterndalc Bennett, the latter seasoned here and there with sauce a la Dussek. It is difficult to describe these pieces ; but in looking them over, one can hardly get rid of the feeling that something of Sterndale Bennett is going on not exactly as it should, that is, not exactly as Sterndale Bennett would have written it. There is a hint here of his Allegro Grazioso in A major; a hint there of one of his three romances (the last, in G minor); a hint elsewhere of some other piece from the same graceful pen. The exquisite finish which declaroa the Bennett-touch, however, is not in the touch of M. Ree— who, but that he publishes at "Kiobenhavn," might have signed his name Rae, or Rca, or Ray, or Wray, or (for a trifle) Ra. "Ree" though he be, he is well acquainted with our own Sterndale; and also has a sly hankering for Dussek's Elegy (Op. 61—on Prince Ferdinand), the last movement of which—with the famous syncopations—he has unblusbingly parodied in page 10 (La Joie). "Unblushingly," we have said; nay—terrifically. A set of Cadences for Mozart's great pianoforte concerto in D minor—three in number— might have elicited unqualified praise as improvisations, or extempore productions; but (we submit it with deference) were scarcely worth publishing. The first (for the first movement) begins with a sort of parody of the "freakish" passage that runs through the finale of Beethoven's pianoforte sonata in F sharp major. In another place a fragment of Mozart's second subject is forced into wedlock with the accompaniment to a chorus in Mendelssohn's St. Paul (in E flat). Decidedly Herr (Mons. ?— Gospadin ?— Mynheer ?) Ree is not original. Cadence No. 2—for the same movement—has some bold (if not always exemplary) strokes, and is more to our liking than Cadence No. 1 ; the hint at another "freakish" passage in the slow movement of Mozart's own symphony in E flat being less open to criticism than the parody of Beethoven already cited. Cadence No. 3 (for the last movement of the concerto) is by much the weakest of the set, and contains, moreover (page 8), an attempt at canon on the fifth above, in which the keys of D minor and A minor are so clumsily alternated as to produce an effect infinitely more disagreeable than musical.

"Une petite Fleur," for the pianoforte, by Charles Luders, Op. 48 (Chappell and Co.), could hardly have been more fitly designated. A little flower it is, and no mistake. Moreover (an evident advantage) its fragrance is at the

command of the majority of amateurs. Though not by any means difficult, " Une petite Fleur" is, on the other hand, not so easy as to be played without some practice; but the trouble will be well "bestowed. It is as graceful as it is unpretending, and as well knit as it is graceful, declaring at once the taste that disdains common-place, and the ingenuity that can make what is simple at the same time interesting. Mr. Luders should manufacture a few more such " little flowers." They are worth the pains.

We had got away from the fish-pond. To return to it, however ; here is a minnow, or rather a stickleback, for in one place (page 2—line 3, bar 3, as far as line 4, bar 3) it decidedly sticks, or stickles. This is a setting of a smooth translation (by Mr. VV. Anderson) of Beranger's " Oiseau." The melody begins well and progresses well, until the point in question is reached. Here the key of B minor comes very uncomfortably, just after a six, five, three on D sharp has brought us into E major ; and the uncomfortableness is not atoned for by an abrupt return to the key in which the song commences (A major)—the melody jumping up to F sharp, while the bass climbs from D to E, as if to demonstrate that a progression of consecutive fifths was not the most disagreeable in the harmonist's index expurgatorium.

"The Bay of Dublin Quadrilles" — by Wellington Guernsey (Brewer and Co.) — represent a whole globe full of glittering minnows. The view of the famous Bay itself (from Kingstown Quarries) which adorns the title-page is alone an attraction, and calculated to raise a vision of herrings, or conjure up an exposition of mackerel. But Mr. Wellington Guernsey's fish, though lively and temptiug, are not of larger dimensions than properly appertains to the minnow tribe. On the other haud, all of them are extremely pretty and to the purpose. They might bo served up to Terpsichore, with the Guernsey sauce, and Terpsichore not be dissatisfied. To be literal—all the figures are as taking as they are Irish, spirited, rhythmical, and (as our ferociously vivacious neighbours say) "dansantes." Mr. Guernsey, in short, could hardly have selected more attractive tunes or have arranged them more "couvaniently. Two vigorous and excellent examples of the general treatment may be pointed out in "Ki3s me, Lady" and "Dermot"

"Still waters run deepest," words by "Zeila "; "Love's messenger," ditto ditto; "Song of the Survivor," words by the Rev. W. Calvert (Addison, Hollier, and Lucas); are all more or less worthy the well-earned reputation of their composer, M. Francesco Berger, being — though for the most part somewhat too elaborately written — invariably melodious. In the last of the three, however — besides a transition to A flat (the key of the song being G) in the opening symphony, which being made nothing of subsequently, is (to say the least) superfluous — we note a false relation (page 1—line 3, bar 3) between G natural in the first chord (six, three on E) and G sharp in the next (six, five, three on G sharp) ; further on (page 2—line 2, bar 3), a dissonance, composed of a major ninth, major seventh, and major sixth, on D, most unceremoniously taken, and decidedly objectionable; and still further, one or two other discrepancies which M. Berger might with advantage reconsider. Even the simpler (if not the better) song, "Love's Messenger," might be improved, with less endeavour in the harmony to avoid the beaten track. This overfastidiousness is indeed M. Berger's besetting sin. He has given way to it less manifestly in the Spohrish ballad, "Still waters run deepest," but even hero he may be

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We hoped we had caught some trout!

MUSIC AND THEATRES IN PARIS.
{From our own Correspondent.)

Sept. 6, 1860.

The long-announced comic opera in one act, Lc Docteur Mirobolan, lias at last become palpable to the sense; and after the gloom of the long dreary wet summer, brings a welcome occasion for ft little wholesome laughter and enjoyment. This merry little production is founded on Crispin Medecin, by Ilauteroche, a writer who flourished in the last century, the date of its first appearance being 1764. It is needless to describe the plot, which savours of the broadest farce, and which, in the old piece, is treated with the license peculiar to the stage of that time. Much of the fun trenches on the delicate ground which Moliere almost exhausted in Le Malatk Imaginaire, and one of the principal scenes is that in which Crispin is laid out on a table in the place of a hanged criminal whom the Docteur Mirobolan is about to dissect. The authors of the opera, MM. Cormon and Trianon, have, however, dexterously softened whatever was too excessive in this species of humour, while retaining enough of the pith and pleasantry of the original work to engender the heartiest mirth without offence to the comparative squeamishness of modern audiences. The music, by M. Eugene Gautier, is entitled to a full share of the success which the piece obtained. It is extremely dramatic, and the resources of the orchestra have been well employed by the composer. Among the more successful morceaux were a lively quintet, a comic duo between Conderc and Mile. Lemercier, and a pretty little song by Conderc, who plays the Docteur Mirobolan admirably, as well lie may, for the part is exactly fitted to him. Mile. Lemercier also showed herself an actress worthy of the Theatre Francais, and might vie with the best soubrettes that have appeared in our day.

At the Grand Opera Le Prophete is announced for Saturday, when Mad. Tedesco will sing the part of Fides. The performance is to lie for the benefit of the pension fund of that theatre. Immediately afterwards, Mad. Tedesco and M. Niemann will place themselves at the disposal of M. Wagner for the rehearsals of Tiinnhauser. M. Obin, the excellent bass singer who lately distinguished himself in the part of Assur in Semiramis, is re-engaged for the ensuing season. Apropos of Semiramis, an edition of this opera is about to be published by the publishers of Le Menestrel in a very grand and luxurious form. It is to be adorned with two portraits of Rossini, one taken in 1820, the date of the production of Semiramidc, by the miniature painter Mceyer; the other from a recent photograph by Numa Blano. It is to be further illustrated by drawings executed by M. Belin, representing the principal scenes of the opera. If the material part of the work be on a level with this magnificence the result will no doubt be a very valuable discovery.

The new opera at the Opera Coniique, which is announced as forthcoming under the title of Le Itoi Barkouf, is the same which was spoken of under the provincial title of La Recolle dans VLnde. It is by MM. Scribe and Offenbach.

I was extremely amused the other day by a paragraph in a French musical journal, of which, that you may snare my enjoyment, I give you the exact translation :—" The impulse given by M. Delaporte to choral music, and the recent visit of the

Orpheonists to London, are bearing their fruits. Societies are in full progress towards organisation.' Is not this want of information and conceit incredible? Is it wonderful that a nation which can thus morally shut itself within an impenetrable Chinese wall, beyond which all is in its idea barbarian — is it wonderful that such a nation should be despot-ridden, as it always was and always will be? In the same paper, however, I a little justice is done to this country in the letter of a correspondent from London, who says:—" The English nation is perhaps the only one in the universe which does not think itself the greatest musical nation, whence it follows that it possesses at the present time the best music in the world"—meaning the best musical performances. The writer, however, goes on after this to brag about his own countrymen, and how they have curried the palm in everything during the late expired^ season, which is simply not true, but he is obliged to bolster up his assertion by claiming a whole list of people as French who are English, Belgian, Italian, &c.

Some of the Italian papers have been amusing themselves with murdering Vienxtemps at Stockholm by the hand of an assassin. These are the same bravos, no doubt, who aimed a deadly blow at poor Rubinstein last year, but did their work so badly that his mangled remains have been writing an opera for the couit of Vienna. Why did not the bunglers finish him?. As to the amiable Vieuxtemps, so scatheless has he escaped the assassin's dagger, that he has been, as I told you some weeks since, playing at Baden and at Hombourg, and was seen quite recently in Paris with not the slightest indication of the murderous attack upon him at Stockholm. The canard murderous is the most pitiful of the breed, and argues a terrible dearth of the imaginative faculty in the authors of his existence. I don't know whether the late announcement of another aristocratic marriage with an artiste is to be ranked with this sort of poultry—it is that of Mile. Nathalie Eschborn with Prince Ernest of Wurtemburg. It is gravely stated in the papers here, but I wash my hands of all responsibility in regard to its truth.

From Brussels I am informed that the Belgian Association of ■ Musical Artists has recently held its eleventh annual meeting, when the report of the secretary, M. Albert Delabane, was read, announcing that the capital of the society had increased from 85,000 fr. (£3,400) to 94,264 fr. (£8,770J. The society is composed of ninety-eight members. The municipality of Cambrai have offered for competition the design of a new theatre, to contain from eleven to twelve thousand places within an area fiftv-five metres in length by from twenty to twenty-two in breadth. There is evidently some error here in the number of seats.

The diapason reform proceeds. M. Calzado, the manager of the Italian Opera in Paris, is about to adopt it. The new instruments required to carry it into effect have been ordered and will be shortly ready. The pitch at this theatre was the highest of any in Paris, and it is said the singers will be grateful for the change. M. Calzado pays the expenses of the reform out of his own pocket. Lille has also adopted the new pitch, and here the city pays half the expenses to which the artists will be put by conforming with the alteration.

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THE SAINTONS AT TOULOUSE.

(From the Journal de Toulouse).

Nous avons dit hier, en quelques mots rapides, que la Societe chorale de Clemence-Isaure avait donue une serenade a notre concitoyen M. Sainton. Cct hommage rendu au caractere et au talent d'un artiste de notre ville avait reuni a l'hotel de l'Europe un grand nombre d'amis de M. Sainton.

Apres l'execution de la Polka de Laurent de Bilk', du Veni Creator de Besozzi, et du Combat naval, dont notre compatriot* avait emporte' un bon souvenir a la suite du concert qu'il donna id, ii y a dix-huit mois, M. Sainton est venu remercier les Orpheonistcs et les feliciter de l'ensemblo qu'ils avaient montre dans l'intepretation de ces morceaux. Aux paroles bienveillsntes et flatteuses de M. Sainton, Mme. Sainton, nee miss Dolby, a vonlu joindre ses compliments et temoigner comme elle etait sensible a l'attention de l'Orpheon toulousain. Elle ne pouyait le

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