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he bought the right first, and was driven to law to defend the same from wholesale pillage. We believe that the evil is slowly correcting itself; and if our national drama revives, it will thank the author of "It is never too late to mend" for having saved it from suicide.

English, who have expressed similar opinions to that of Bunting; but, in fact, there is a total want of evidence, external and internal, of its being an Irish tune. About the same time that Moore claimed it it was printed in Dublin in Clifton's 'British Melodies.'"

GRISI. The report that Mad. Grisi intends to sing at Her Majesty's Theatre, proves, as we hoped it would do, for her sake, a mistaken rumour.-Athenæum.

[PANURGE to the rescue! Surely the foregoing must be the perpetration of an "inkster," to "mend" whose pen would bother the "trenchant glaive" with which Sir Gawaine and brethren hewed King Pellinore-who had slain King Lot who had married King Arthur's sister, and was yet not the father of Sir Mordred, King Arthur's unnatural son and nephew-who was killed at "the last great battle," by the hands of King Arthur himself-who was King Lot's wife's own brother-who, &c.-Ed. M.W.]ment is announced to commence its third season, under the

BENEDICT'S ERIN AND CALEDONIA.*

(From the Illustrated Times).

THAT these brilliant morceaux de bravoura should have attained almost unexampled popularity is not to be wondered at, considering the manner, at once clever and congenial, in which Mr. Benedict has treated the beautiful melodies that form their groundwork. For "Erin" he has selected two of the most racy of the (supposed) Irish national tunes, which will be recognised under the comparatively recent titles of "Believe me if all those endearing young charms" and "The Minstrel Boy." For "Caledonia" he has had recourse to "Auld Robin Gray," and one of the liveliest, most piquant, and characteristic of the Scottish reels. In both instances the wisdom of his choice is borne out by the complete success of his workmanship. The airs are admirably harmonised, and the passages are, without exception, graceful, showy, and effective. The plan of each fantasia is clear, well defined, and masterly; and in the Irish as in the Scotch essay the character of the tune is imitated throughout with the utmost felicity, though it is by no means certain that "The Minstrel Boy" is an Irish tune, any more than "The girl I left behind me," "The Cruiskeen Lawn," and others which were never thought to be anything but English until Moore adapted them. We often hear of Scotch and Irish music being wonderfully "characteristic," and yet persons who should be good judges are perpetually making mistakes as to the character of each. Mr. Chappell in his volume of English national music, frequently remarks and shows that such and such a composer or compiler (among others Moore) could not tell the tunes of one country from those of another. From this we infer-while fully believing that each possesses a certain number of airs clearly impressed with the stamp of nationality that owing to interchange, imitation, and probably some other causes, there is a far greater resemblance than is generally supposed between the airs of England and Ireland, and also between those of England and Scotland. During the last year "fantasias on Irish airs" have been published by Mr. Wallace (an Irishman) and Mr. Benedict, in each of which one of the motives is "The Minstrel Boy," otherwise "My lodging is on the cold ground." With regard to the nationality of this tune, Mr. W. Chappell tells us that it has been a stock song in England since 1775, and that it was never claimed for Ireland until the beginning of this century, when Thomas Moore included it among his Irish melodies. "I believe," he adds, "there is no ground whatever for calling it Irish. The late Edward Bunting, who was engaged to note down all the airs played by the harpers of the different provinces of Ireland when they were collected together at Belfast in 1792, and who devoted a long life to the collection of Irish music, distinctly assured me that he did not believe it to be Irish, that no one of the harpers played the tune, and that it had no Irish character. I do not think a higher authority as to Irish music could be quoted, or one more tenacious of any infringement upon airs which he considered to be of truly Irish origin. I might add the testimony of Dr. Crotch, Messrs. Ayrton, T. Cook, J. Augustine Wade, and others, both Irish and

Published by Boosey and Sons.

MEYERBEER has consented to become President of the Kerein Teutonia, a choral union in Paris, and is said to have composed a new chorus for them.

ROYAL ENGLISH Opera, CovENT GARDEN. — This establish

management of Miss Louisa Pyne and Mr. W. Harrison, on Monday, October the 1st.

ST. MARTIN'S HALL.-The Critic says it is feared the fire at St. Martin's Hall has not only destroyed the extensive music library of Mr. Hullah, but also that belonging to the Society of British Musicians.-The Critic's fears are groundless.

ROTTERDAM.-A society has been formed to establish a German opera. Herr Skruss, of Prague, has been engaged as conductor, and has already arrived to enter on his new sphere of action. It Herr Grimminger, the tenor; Herr Brassin, the barytone; and is said that Mad. Prausse, from Prague, is to be the prima donna ; Herr Carl Formes, the bass.

COBLENTZ.-A short time since, Mlle. Marie Cruvelli gave a concert, at which she sang airs from Rossini's Tancredi, and Donizetti's Favorita, a romance from Verdi's Trovatore, and two German songs by Schumann and F. Schubert. Her beautifully full alto voice and admirable style, especially in the Italian picces, gained for her enthusiastic applause.

OSTEND (From Le Courier des Bains).-A numerous and fashionable audience assembled last Wednesday, to "assist" at the concert given by M. Depret in the salons of the Casino. This excellent artist, whose talent has been admired for the last two years in London, and the principal towns in England, sang several compositions, which were most charmingly rendered, and met with the greatest success. M. Depret is certainly the best singer that we have heard for a long time; he possesses a splendid voice of unusual compass, power, and flexibility, which he uses with an excellent method. M. Depret was ably assisted by Mlle. Vronen and M. Libotton, for whom a brilliant career is in store, and who gave unqualified satisfaction. In short, M. Depret's concert satisfied the most critical, and the unanimous appreciated. applause he received proves that his talent was deservedly

EASTERN OPERA HOUSE, PAVILION THEATRE. · Mr. John Douglas can hardly estimate his prima donna, Mad. Lancia, at her true artistic value, else it is not possible that he would make her sing six nights in the week, a call upon her means, histrionic and vocal, that no artist living could undergo with impunity. That Mad. Lancia can sustain herself through such an ordeal without breaking down is owing to her admirable method and her indomitable energy. From the judgment, as well as enterprise nevertheless infer that such a hazardous employment of his prinexhibited in all former administrations by Mr. Douglas, we may cipal operatic strength is to be attributed to necessity not choice. The difficulty of procuring a soprano singer who could with anything like success alternate performances with Mad. Lancia may be easily supposed; and the audiences of the Eastern Opera have been too well taught in the new campaign not to appreciate the with mediocrity. Hence Mr. Douglas finds himself in "a fix!" difference between legitimate and spurious talent, or to be satisfied and Mad. Lancia is unintentionally made the sacrifice, or will be, provided no competent artist be discovered in time to sing on the off-nights. The difficulty is enormously increased now that the two great Italian theatres are about to be opened for English opera, which of course involves the engagement of a large complement of our available artists; and still further-if we are informed rightly by the conversion of Drury Lane and the

Alhambra into minor opera houses, whereby, it may be presumed, all the superfluous talent of the country will find employment, if their services have not been already retained. Under these circumstances we can sympathise with the manager of the new opera house in Whitechapel, who is enforced against his will to make too free a use of his prima donna.

Since our last notice several operas, Italian and English, have been produced. Of these the Traviata, La Sonnambula, and Fra Diavolo proved most attractive-the last, indeed, so much so that it has been repeated frequently. The Traviata was given in Italian, and, but for Mad. Lancia's delightful singing and admirable acting as Violetta, would have proved a failure, from the utterly bad performance of the tenor, Signor Giuletti, whose Alfredo was literally unworthy the lowest audiences of White chapel. La Sonnambula fared something better, although Mr. Parkinson knows nothing of acting, and does not appear to find Italian music kindred to his means. This gentleman, nevertheless, is very popular with the East-end public-why, we have not been able to ascertain and as favouritism, like charity, covers a multitude of sins, his deficiencies and solecisms not merely escape censure but are converted into causes for approbation. Mr. Parkinson, indeed, may thank his stars that his audiences are so indulgent, or their senses so obtuse. Both in Violetta and Amina, Mad. Lancia created a perfect furore, and had she been even decently supported either opera might have been played for weeks successively. Fra Diavolo has, however, proved the most enduring success. Mr. Augustus Braham sustains the character of the brigand chief with excellent spirit, and sings the music with much taste and sweetness; and Mr. Parkinson shows to greater advantage in the part of Lorenzo than anything operatic he has yet attempted. As for Mad. Lancia's Zerlina, it cannot be too highly praised. The music is sung with irreproachable grace and expression, and the acting, in many respects, is better than that of any artist we have seen. Linda di Chamouni is in rehearsal for Mad. Lancia and Mr. Augustus Braham.

MANCHESTER. THE JULLIEN FESTIVAL.- Last evening the friends of the late M. Jullien mustered extensively at the Belle Vue Gardens, in aid of the fund being now raised for the widow of the amiable and talented conductor. The number present was about ten thousand, and, as the weather was fine, music and dancing, to say nothing of liberal feasting, were evidently enjoyed with no common gusto. First came the Campbell Minstrels; after which Blondin walked on the tight rope, stretched across the lake in front of the city of Badajoz; upon this followed performances by the military bands of the 11th Hussars and 84th Regiment. They both played with good taste, conducted by their respective bandmasters, Mr. J. P. Clarke and M. Brozang. Part second of the concert introduced to us his Highness the Prince George Galitzin-one of the finest built men that has ever stepped before a critical public, and who presents also finely cut features, full of an intelligent expression. We learn that he is in England because of his love of that good cause which is to end in the freedom of Europe. The Prince was here as conductor of the instrumentalists, once known as Jullien's Orchestra, and in addition he appeared during the evening in the character of a composer, his popular "Surprise" Polka being played under his baton with remarkable effect. There is genius in his eye, and in his conducting he shows great nervous energy, as well as that precision of manner which the position he undertook so much demands. The noble conductor-noble beyond the conventional -received a most hearty welcome from an audience packed in every part of the great music hall. That most pleasant of ballad singers, Miss Poole, appears to be as great a favourite as in those younger days when she used to stir the hearts of young England with her brilliant tap of the drum. Her voice and manner are as charming as in her brightest time, and she seems to be one of those whom kind mother Nature takes a delight in cherishing with the freshness of youth. Besides all these good things, we had the pleasure of listening to a large volunteer chorus, under the direction of Mr. D. W. Banks, who kept them together in his usually able style. The whole "went off" very successfully, and so did the fireworks, and then the people "went off," and all as merry as a marriage bell." We trust the result may be a success to Madame Jullien; and it is gratifying to find that a

66

further effort in her aid is to be made in the Free-trade Hall on Saturday next, when a considerable part of the above musical entertainment will be repeated, along with other attractions. She will in that locality appeal to those audiences which used for so many years to gather liberally at the call of poor Jullien, whose baton, we are informed, was there wielded for the last time.Manchester Weekly Times, Sept. 8.

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BAND CONTEST AT MANCHESTER.-There was a band contest at Belle Vue Gardens, Manchester, on Monday last. The following five bands competed: Sherwood Rangers (Yeomanry), Newark, conductor, William Lilly; Dewsbury, John Peel; Hali fax (Volunteer Rifles), J. Dewhurst; Albion (Heckmondwike, near Leeds); Deighton (near Huddersfield), Philip Robinson. Each played two pieces; one of their own choice, the other being Herold's Zampa overture. This having been done, the judges required that two bands whose number they stated, should play again. This proved to be Halifax and Dewsbury; and the latter repeating their own selection (one from "La Sonnambula ") were required once more to play. All five bands then joined in the National Anthem; and the judges made the following award of the prizes:-1st, Halifax, £35; 2nd, Dewsbury, £15; 3rd, Sherwood Rangers, £10; 4th, Albion, £5; 5th, Deighton, £2. Bands from Wyke, near Cleckbeaton, and the Barrington Colliery, near Morpeth, were stated to be unavoidably prevented from competing after being entered. The judges were :-Herr Brozang, 84th Regiment; Mr. J. P. Clark, 11th Hussars; and Mr. G. Kern, 41st Regiment.

GERMAN MEN'S SONG FESTIVAL.

WE will put a question and try to answer it. This question is: What bearing have the German Men's Singing Societies had upon the growth and development of musical art? Have they furthered or retarded it? This question may be sub-divided into two. First: Has the cultivation of male part-singing benefited the productive side of musical art-composition? and secondly; has it benefited the vocal reproduction, the art of singing.

All musical persons of judgment and taste agree, that by far the greater part of compositions for male voices have but very little musical merit, if any at all. The classic German masters, Bach, Handel, Gluck, Haydn, Mozart, Beethoven, have produced so little in this line, and what there is of them is so decidedly inferior to their other vocal works, that it would never have been a sufficient cause to establish special societies for its reproduction. Franz Schubert, too, has written too little to build societies, upon although of some of his male four-part songs might be truly said: ex ungue leonem. It is characteristic however of the tendency and the taste of their societies that you see very seldom- perhaps never-a piece of Franz Schubert's on their programmes; and that the few compositions left by Robert Schumann are neglected just as much. It is true that Mendelssohn has written some very remarkable works for male voices, among which the Antigone music stands prominent, but none of them, save one, has become popular with our societies, so that hardly a festival passes by during which the "Farewell to the woods is not sung by heart -and, generally speaking, very poorly too.

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The principal food of these societies at their private meetings, as well as at their grand joint festivals, consists-besides the Gambrinic malt juice-of the "still" liquid brewed by a few artizancomposers, who meet the enormous yearly demand for new partsongs by opening their sluices of musical idiocy and mediocrity par excellence. Masterworks, similar to the Singer's Rambles, Student's Rambles, Mordgrundsbruck, &c., flood the market in the cheapest of editions, excluding all competition of copyists, and satisfy to a marvel the wants and tastes of most societies and their respective directors. In these productions phrases take the place of an original melodic element, and instead of an independent carriage of the parts you find a piano accompaniment arranged for voices; for in almost every bar of these popular works you can trace the keyboard easily.

To proceed to the second part of our question: in the art of singing, are the voices benefited by the cultivation of male partsinging? Every musician who has any experience in vocal music

would answer, not at all; on the contrary, it is highly injurious to JUST PUBLISHED, RUDIMENTS of HARMONY

voices. All the mediocre manufacturers of male choruses speculate on the effect of the highest notes of the tenor-voice. Such an Amphion of the Liedertafels thinks to himself; a high A or B never fails of its effect, and there is hardly a society without one or two first tenors who can sound these high notes with full chest voice; why then should I not put them in as often as possible? It would be well if the assassination of tenor voices could be placed under the surveillance of the police. Any one who has ever been present at a regular meeting of a Men's Singing Club must have noticed, that instruction in the proper use of the vocal organs, or even correct pronunciation of the words, is never thought of. Practising, cigar in mouth, and beer glass within reach, is kept up till the first tenors cry for grace, and the bill of fare.

with Progressive Exercises. By G. A. MACFARREN. Price 7s. 6d. Cramer, Beale, & Chappell, 201 Regent Street.

NEW SONGS by EMANUEL AGUILAR.-"SYM

and "IN A WOOD ON A WINDY DAY," poetry by ACTON BELL, dedicated to Miss GRACE LINDO, price 3s., are now published by Duncan Davison & Co., 244 Regent Street, W.

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"These songs, written by the younger sisters of Charlotte Brontë (Currer Bell, author of Jane Eyre,') have been clothed by Mr. Aguilar in beautiful and expressive music. Sympathy' is full of tranquil tenderness; In a Wood on a Windy Day paints the agitated and exulting mood often engendered by the stormy aspects of nature-the wind roaring among the branches and scattering the withered leaves, or the dashing of the billows on the sea-beach. Mr. Aguilar has heightened the effect of this last song by the picturesque character of his pianoforte accompaniment."-Daily News. "In a Wood on a Windy Day," was sung by Miss Grace Lindo with great success at Mr. Aguilar's Concert, Hanover Square Rooms.

WALTZ, on

An excursion generally proves fatal to some young promising LARNEY WALTZ, on Irish Airs. By LAURENT. Both Illustrated. Price 3s.

each. Boosey & Sons, Holles Street.

tenor voices, which if they had joined a mixed chorus instead of a
male chorus might have been preserved and been useful. But it
has of late become very difficult to obtain male members, espe-
cially high tenors, for singing societies in which ladies participate.
In the first place the compositions which are studied and performed
there are altogether too classical, that is to say too tedious for the
majority of our young men.
rested in the works of Handel, Bach, Haydn, Mozart, Beethoven,
Mendelssohn, Schumann, without first possessing himself of some
initiatory musical knowledge. Moreover our first tenors, if they
were to join mixed choruses, would but too often stand convicted CZERNY'S 50 BEST EXERCISES (from the 101), 18.
of utter ignorance in reading readily-especially in the tenor-clef
-in counting and keeping time. And this is reason enough for
keeping aloof from societies in which they sing fugues-horrid
word! Such is the state of things now, that Choral Societies
have to engage professional singers to get even a decent propor-
tion of tenors and basses. It has happened quite lately that, in a
pretty large provincial capital, not far from Berlin, there were but
seven male singers to ninety-seven ladies present at an oratorio
rehearsal. Many choral societies which used to flourish have
been obliged to disband only for reasons of this kind. The prin-
cipal cause of this is the so-called cultivation of male part-singing.
Really, if old Zelter-supposed to be the Columbus of the Lieder-
tafels could have known how this discovery would affect the

MARGARETTA WALTZ, on Balfe's Celebrated Song.
to the MAUD and BELOVED STAR WALTZES. Boosey & Sons, Holles Street.
ENNYSON'S EXQUISITE LYRIC-"FOR EVER
JERROLD. Vide Illustrated News, September 8th. It is just published by Boosey &
Sons, Holles Street.

By LAURENT. Beautifully illustrated in colours by BRANDARD. Companion

Of course nobody can become inte- ND FOR EVER," has been as exquisitely set to Music by Mr. BLANCHARD

Etude de LA VELOCITE, 2s. 6d. complete, or in Three Parts, 1s. each. CZERNY'S 101 EXERCISES, Two Parts, 1s. each. HERZ'S EXERCISES and SCALES, 1s. Boosey's editions must be ordered.

KU

UHE'S ROBERT LE DIABLE, published this day,
price 3s. Also, KUHE'S FANTASIAS on DINORAH, SATANELLA,
DOMINO NOIR, ZAMPA, LES VEPRES SICILIENNES, 3s. each. Boosey &
Sons, Holles Street.

Nela, 159.; La Traviata, 12s., Don Juan, 185.; Figaro, 6s.; Sonnambula, 12s. 6d.
ENGLISH.-Dinorah, 12s.; Il Trovatore, 12s.;

Parma, 10s. 6d.; Lucrezia, 16s.; Iphigenia in Tauris, 8s.; Faust, 12s. 6d. Fidelio, 15s.;
Der Freischutz, 12s. 6d.; Ernani, 15s.; Il Barbiere, 108.; Zauberflote, 12s. 6d. These
Operas are complete for Voice and Pianoforte, with English words and the original
Foreign text, in handsome cloth volumes. Boosey's editions must be ordered. 28
Holles Street.

higher vocal music, he would have looked at it with horror.-Kes 36 Caprices for Violin, 1s. 6d.; Fiorillo's Caprices for Violin, 1s. 6d.; De

Berlin Vossiche Zeitung.

REUTZER'S 40 STUDIES for VIOLIN, 1s. 6d.; Beriot's 7 Airs, with Variations, for Violin, 1s.; Boosey's 100 Exercises and Studies by all the great Masters, for the Violin, 1s.; Boosey's Violin Tutor, 24 pages, large size. Boosey & Son, Holles Street.

100 Dances (Second Series), 1s.; 100 Ballads, 1s.; 100 Operatic_ Airs, 18.; 100 Reels and Country Dances, 1s.; 100 Waltzes (by Strauss, Lanner, and Labitzky), Is.; 10 Standard Overtures, 1s.; Boosey's 23 Complete Operas for Violin, Is. each (including Dinorah, Satanella, Bohemian Girl, Maritani, Il Trovatore, La Traviata, &c.). Boosey's editions must be ordered. Holles Street.

THE NEW YORK MUSICAL REVIEW AND MUSICAL WORLD came to us last week in its new form, which is substantially the old form of the Review. We part with reluctance from our old BOOSEY'S 100 VIOLIN DANCES, 18. (First Series); friend the Musical World, which for many years, under Mr. R. Storrs Willis, was a constant and faithful advocate of whatever was highest and best in art, and the memory of which will always be pleasantly associated with his name. The new paper will doubtless gain a new life and strength from their union of forces, and, under the able conduct of its editors, and its enterprising publishers, Mason Brothers, we doubt not will have continued prosperity and success. - Dwight's "Boston Journal of Music."

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Advertisements.

FERRARI'S WORK

оп

THE VOICE AND SINGING,

Price Ss.

MAY BE HAD AT HIS RESIDENCE,

DEVONSHIRE LODGE, PORTLAND ROAD, PORTLAND PLACE,

And at all the Principal Music Sellers.

"Of all the treatises on the cultivation of the voice that have appeared for many years, it is the most sensible, concise, and useful."-Daily News.

"There is more sense in this work than we find in nine out offten publications of a smilar kind."-Athenæum.

Here is a really sensible work."-Musical World.

BOOSEY'S 100 DANCES for FLUTE, 1s.; 100 Ope

ratic Airs, 100 Exercises and Studies by the great Masters, 1s. All arranged by R.IS. PRATTEN. Also 12 Complete Operas for the Flute, arranged by CLINTON, 18. each, including Il Trovatore, Sonnambula, Les Huguenots, &c. Boosey & Sons, Holles Street, Manufacturers of Pratten's Perfected Flutes.

BOOSEY'S 25 DUETS for TWO CORNETS-A

PISTONS, arranged by THOMAS HARPER, price 1s.; Boosey's 100 Dances for Cornet-à-Pistons, 1s.; Boosey's 100 Operatic Airs for Cornet-à-Pistons, Is. Boosey & Sons, Holles Street.

OOSEY'S 100 CONCERTINA DANCES, 1s.; 100 arranged by GEORGE CASE; Boosey's Concertina Tutor, 24 pages, large size, 1s. Boosey & Sons, Holles Street.

FOR

BEGINNERS.-Thou art so Near, Solo and Duet, 1s.; The Shadow Air (Dinorah), 18.; The Power of Love, 1s.; Willie, we have Missed You. Is.; Beautiful Star, 1s.; Maud Waltz, 1s.; Satanella Quadrille (complete), Is.; König's Hero Polka, Is. All in the Pianoforte Recreations. Boosey & Sons, Holles Street.

CANTERBURY HALL CONCERTS.-This Evening;

C. H. Gounod's Opera, FAUST, and selections from "Dinorah," " Trovatore,' "Macbeth," &c. After which, the ETHIOPIANS, consisting of Seventeen per formers, organised expressly for this establishment, for the performance of Vocal and Instrumental Music, Comic and Sentimental, with Negro Delineations, Anecdotes, &c., in addition to the usual entertainment. The Fine Arts Gallery is open from Eleven a.m. till Twelve p.m.

Printed by GEORGE ANDREW SPOTTISWOODE, of No. 10 Little New Street, in the Parish of St. Bride, in the City of London, at No. 5 New-street Square, in the said Parish, Published by JOHN BOOSEY, at the Office of BooSEY & SONS, 28 Holles Street.-Saturday, September 15, 1860.

"THE WORTH OF ART APPEARS MOST EMINENT IN MUSIC, SINCE IT REQUIRES NO MATERIAL, NO SUBJECT-MATTER, WHOSE EFFECT MUST BE DEDUCTED: IT IS WHOLLY FORM AND POWER, AND IT RAISES AND ENNOBLES WHATEVER IT EXPRESSES"— Göthe

SUBSCRIPTION-Stamped for Postage-20s. PER ANNUM

Payable in advance by Cash or Post-Office Order to BOOSEY & SONS, 28 Holles Street, Cavendish Square, London, W.

VOL. 38-No. 38

V.

SATURDAY, SEPTEMBER 22, 1860

B.

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Dr. MARK begs to inform young ladies and gentlemen who are preparing for the profession that he affords opportunities of introducing them to the public by performing at his concerts.

Orphans of the musical profession, and poor children possessing musical talent, are admitted free, and receive a general and musical education, together with board, lodg ing, and clothing, until the age of fourteen years, when they are either apprenticed to a trade or trained for the profession.

Little Boys, from five to nine years of age, apprenticed for three, five, or seven years by paying a moderate entrance fee to cover the expenses of instrument and books. For Prospectuses, apply direct to the Royal College of Music, Manchester. Visitors are admitted from Nine to Eleven, a.m., and Two to Four, p.m. every day, Saturdays and Sundays excepted.

[EYERBEER'S GRAND MARCH for the SCHILLER

Solo or Duet for Pianoforte.-Cramer, Beale, and Co., 201 Regent Street.

38

EASTERN

OPERA

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OPERA HOUSE-PAVILION THEATRE. Lessee, Mr. JOHN DOUGLAS. Continued success of the Grand Opera Company, which has surpassed the most sanguine expectations of the Manager, The Theatre crowded to the ceiling. On Monday, FRA DIAVOLO, supported by Messrs. W. M. PARKINSON, A. BRAHAM, O. SUMMERS, Mad. LANCIA, Miss FANNY TERNAN, and Mr. EDMUND ROSENTHAL. On Tuesday and Wednesday, TROVATORE. On Friday and Saturday, MARTHA. On Thursday, a Special Night, THE BOHEMIAN GIRL and NORMA, on which occasion Mr. MELCHOR WINTER, the new tenor, will make his first appearance. Band and Chorus of 100 artistes. Conclude all this week with a MUSICAL BURLETTA. Boxes, 28.; Lower Circle, 1s. 6d. ; Pit, 64.; Pit Stalls, 1s.; Amphitheatre Stalls, 6d. ; Private Boxes, 10s., 15s., and 3s. each person.

AD. LAURA BAXTER begs to announce that she

MAD.

will give a SERIES of PERFORMANCES of SACRED and MISCELLANEOUS VOCAL MUSIC during the ensuing Season. Mad. LAURA BAXTER will be assisted by eminent artists, and also by her Amateur and Professional Pupils. Communications to be addressed to Mad. LAURA BAXTER, at her Residence, 155 Albany Street, Regent's Park, N.W.

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THE

HE MIDLAND COUNTIES VOCAL UNION, consisting of the following Artistes-Miss AMELIA HILL, Mrs. JOHN HAYWARD, Mr ROBERT MASON, Mr. W. T. BRIGGS; Conductor, Mr. W. C. STOCKLEY; may be engaged for ORATORIOS or MISCELLANEOUS CONCERTS, with or without Solo or Orchestral Instrumentalists. Applications for terms, &c. to be made to the Secretary, Mr. W. T. Briggs, Cathedral Choir, Worcester; or to Mr. W. C. Stockley, 120 Moseley Road, Birmingham.

R. WALLWORTH begs to inform his pupils, friends,

SQUARE, W.-The Second Edition of his "ART OF SINGING" is just published, and may be had at his residence.

VOLUNTEER BAND now forming in the 37th Middle

sex (G. G. B.) Volunteer Rifles. Any persons willing to join are requested to apply at Head Quarters, 35 Bernard Street, Russell Square,

BOARD and RESIDENCE for PROFESSIONAL

LADIES. Miss Le DIEU begs to announce to her Friends and the Public that she receives a limited number of Young Professional Ladies as BOARDERS. 18 Chalcot Crescent, Primrose Hill, N.W.

THE SON of a PROFESSOR of MUSIC seeks employ

to commence with.-Address A. Z., 13 Salmon Parade, Bridgewater, Somersetshire.

A YOUNG

MUSICAL EDUCATION.

GENTLEMAN, of good education and

address, who can command a premium of £100, may be received for Five Years into a first-class Musical Instrument Establishment, of thirty years' standing, in the West of England. He would be instructed in the Organ, Pianoforte, and Singing, and a Salary would be given in the latter three years. Apply to S., care of Messrs. Boosey & Sons, 28 Holles Street, Cavendish Square, London.

JUST PUBLISHED, RUDIMENTS of HARMONY

with Progressive Exercises. By G. A. MACFARREN. Price 7s. 6d. Cramer, Beale, & Chappell, 201 Regent Street.

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[EW SONGS by BALFE.-"I LOVE YOU," sung

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, 3s. ; as well as Balfe's two charming Ballads, "Oh! take me to they heart again," 28., sung by Miss KATE RANO (mezzo-soprano) at Mad. de Vaucheran's Concert; and "I'm not in love, remember," 2s. 6d., sung by Mile. SEDLATZEK at the fashionable Concerts at Campden House, are published by Duncan Davison and Co. 244 Regent Street, corner of Little Argyll Street, W.

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GOOD NIGHT," New Song by A. REICHARDT,

Composer of Thou art so near and yet so far," is published, with English and German Words, and a Portrait of Herr Reichardt, price 2s. 6d. by Duncan Davison & Co. 244 Regent Street, W.

WILBYE COOPER'S NEW SONG, "The Meadow

Gate," composed expressly for him by GEORGE B. ALLEN, is now published, price 2s. 6d. by Duncan Davison and Co. 244 Regent Street, W.

"OOD NIGHT," Réverie by KUHE on Reichardt's

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

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"IF

F I COULD CHANGE AS OTHERS CHANGE," composed by M. W. BALFE expressly for Madame LAURA BAXTER and sung by her with distinguished success at St. James's Hall and the Royal Surrey Gardens, is now published, price 2s. 6d. by Duncan Davison and Co. 244 Regent Street, W.

ELLIOT GALER'S NEW SONGS, composed expressly

for him by W. MEYER LUTZ, are just published, viz. :-" Under the Linden Tree" and " Merry little Maud," price 2s. 6d. each, by Duncan Davison and Co. 244 Regent Street, W.

"OOD NIGHT," by I.

"GOOD

LIEBICH. Reichardt's

charming Wiegenlied (Cradle Song), transcribed for the Pianoforte by I. Liebech (forming No. 2 of Two Popular Melodies for the Pianoforte, by the above author), is now published, price 2s., by Duacan Davison & Co., 241 Regent Street, W.

N1

EW ENGLISH DUET.-" Sweet is the dream," Duet by CAMPANA, being an English version of his celebrated aria "Sera d'Amore." Price 2s. 6d. Boosey & Sons, Holles Street.

THE MAZURKAS of CHOPIN, edited by J. W.

DAVISON, Complete in One large Volume, music size (100 pages), with Preface by the Editor, and Portrait of Chopin, price 8s., or superbly bound in crimson cloth, gilt edges, price 10s. 6d.; Rossini's Stabat Mater, for Pianoforte, by Smart, complete, 3s.; Mozart's Twelfth Mass, do. 3s.; Moore's Irish Melodies, for Pianoforte, by Nordmann, 2s. 6d.; 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. 6d. ; the Juvenile Pianoforte Album, 12 pieces, illustrated and bound, 3s. 6d. ; the Operatic Album, 100 gems from the newest Operas, for Pianoforte, 100 Waltzes, by Strauss, Lanner and Labitzky, for Piano, 38.; Czerny's Etude de la Velocité, 2s. 6d.; Czerny's 101 Exercises, 2s.; Boosey's Part-Song Miscellany, 18 Original Compositions, handsomely bound, 58.; the Harmonium Museum, 100 Sacred and Secular Subjects for Harmonium, with Instructions, 7s. 6d.; Engel's Harmonium Operatic Album, 60 Gems for Harmonium, 7s. 6d.; Christy's Minstrels' Album, 24 Songs in One Book, 2s. 6d. ; the Verdi Album, 25 Songs, in English and Italian, 4s.; Dinorah, for Voice and Piano, complete, 12s. Boosey & Sons, Holles Street.

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"The Harp of Wales' (sung for the first time) is a very graceful song, admirably adapted for Mr. Sims Reeves, and sung by the distinguished tenor with a refinement of expression which produced a magical effect on the audience, and raised demands for repetition which were not to be denied."-Daily Telegraph.

The Harp of Wales,' beautifully sung by Mr. Sims Reeves, was unanimously redemanded."-Morning Post.

"The other was new and sung for the first time by Mr. Sims Reeves. It is called the Harp of Wales,' and is a lovely and expressive melody. It was enthusiastically encored."-Daily News.

"Mr. Richards did honour to his fatherland by introducing a new song, The Harp of Wales,' which is sure to become a favourite of the Cymri, who are justly proud of their bards. So admirably was this sung by Mr. Sims Reeves, that an encore was inevitable, and the ballad was as warmly applauded the second time as the first.”— Musical World.

London: DUNCAN DAVISON & Co., Dépôt Géneral de la Maison Brandus, de Paris; 244 Regent Street, corner of Little Argyll Street, where may be obtained"THE SULIOTE WAR SONG," sung by Mr. Santley, price 3s. “THE BLIND MAN & SUMMER," sung by Miss Palmer, price 2s. 6d. "ETHEL," Romance for the Pianoforte, price 28.

66

LEOPOLD," Mazurka Favourite, price 2s.

Composed by Brinley Richards

A brilliant

SANTA LUCIA, by WILHELM GANZ Air.

Price 3s.

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OOD NIGHT," by R. ANDREWS. Reichardt's charming Wiegenlied (Cradle Song), transcribed for the Pianoforte by the above popular author, is now published, price 2s, by Duncan Davison & Co., 244 Regent Street, W., where R. ANDREWS'S transcription for the Pianoforte of "THOU ART SO NEAR AND YET SO FAR" (Reichardt) may be obtained, price 2s.

RAMSGATE SANDS QUADRILLE.

The most popular set of the day. Founded on favourite and well-known melodies, iliustrating a visit to Ramsgate, in characteristic music. By BURCKHARDT. With a most superb Frontispiece, by Brandard, in Colours. Boosey & Sons, Holles Street.

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Romance for the Pianoforte, by Illustrated by Laby. Published this day by Boosey & Sons, Holles Street. CHLOESSER'S BRILLIANT DUETS for Pianoforte, and moderately difficult. Boosey & Sons, Holles Street.

THE BALL ROOM MUSIC-BOOK, price 4s. in crim

son cloth, containing 50 Waltzes, 40 Polkas, 10 Galops, 2 Schottisches, 2 Varsovianas, and 12 Sets of Quadrilles (complete). Boosey & Sons, Holles Street.

ASCHER'S CLOCHES du VILLAGE (just published),

38.; Ascher's "Thou art so near," 3s.; Ascher's Dinorah, 3s.; Ascher's Les Vepres Siciliennes, 3s.; Ascher's Un Ballo in Maschera, 3s. Boosey & Sons, Holles Street.

AN EVENING WITH MEYERBEER (published this

day). Mélange for the Pianoforte, by NORDMANN, introducing beautiful subjects from Crociato, Robert le Diable, Dinorah, Les Huguenots, Vielka, &c. Price 5s. ; solo, 6s.; duet also. AN EVENING WITH BALFE, solo and duet.

AN EVENING WITH CHRISTY'S MINSTRELS, solo and duet.
Boosey & Sons, Holles Street.

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