LEEDS TEIENNIAL MUSICAL FESTIVAL, 1861. • {From our Correspondent). In compliance with a notice issued by the Mayor (Wm. Kelsall, Esq.), a public meeting was held in the Civil Court of the Leeds Town Hall on Wednesday, "to make arrangements for the Musical Festival in 1861, and to consider the object to which the surplus fund shall be devoted." The Mayor presided, and amongst the gentlemen present were—Messrs. E. Wurtzburg, John Marshall (Horsforth Hall), P. O'Callaghan, C. Frost, G. Smith, J. Kitson, R. Barr, W. E. Hepper, S. Lawson, R. M. Carter, G. Brooke, J. W. Atkinson, Wm. Spark, W. Joy, G. Buckton, J. Holt, R. Rooke, E. C. Dray, J. Kitson, jun., J. N. Dickinson, Lyndon Smith, Fred Spark, &c.

The Mayor having briefly stated the object of the meeting, read a letter from Mr. Nunnelcy, suggesting that the whole of the surplus, if any, should not be devoted to the Infirmary, but be divided amongst the medical charities of the town.

Mr. Frost then moved the first resolution as follows :—

That in the opinion of this meeting, it is desirable to hold a musical festival in Leeds in the autumn of 1861.

He had not, he said, given much attention to the working of a musical festival, but judging from the great success of the first Leeds Festival, he saw no reason to fear a different result for the second. (Hear, hear.)

Aid. Kitson said he had much pleasure in seconding the motion, and he trusted tluit the Festival of 1861 would be but the beginning of a long series of successful triennial musical festivals in Leeds. (Hear, hear.) Those persons who had had the opportunity of hearing the opinions of musical men as to the magnificent performances at the first Lewis festival, could not but agree with him that an eObrt should be made to retain the good name which the town had won. (Hear, hear.) He saw nothing to prevent the second festival from being equal to the first, both m a musical and in a pecuniary sense. They might enlist the sympathies of those who were not what is called "musical" by assisting the charities of the town; and at the same time produce musical works which should prove attractive to lovers of music not only in Yorkshire, but throughout England. (Applause.)

Mr. Marshall heartily concurred in the opinions of the previous speakers, and cordially supported the resolution. In Leeds we had all the means and facilities for making a musical festival successful. There was a large population, a growing intelligence, and, lie hoped he might say, an increasing wealth; and when they saw a small town like Norwich holding its established triennial festivals with success, could there be any doubt that Leeds would be entirely successful in the movement they were met that day to promote? (Applause.) Believing that a festival in 1861 would prove of great advantage to the town, he had great pleasure in supporting the resolution.

On being put to the meeting, the resolution was unanimously carried.

Mr. O'Callaghan said he had been entrusted with a resolution; but as he was neither an inhabitant nor a ratepayer of Leeds, he thought it should be proposed by some other person. He therefore begged to ask Mr. Marshall to undertake the duty.

Mr. Marshall admitted his readiness to do anything in support of the proposed festival. The resolution was a necessary and an important one — it was the appointment of an efficient committee. He begged to propose:—

That the following gentlemen bo the General Committee, with power to add to their number, to make the necessary arrangements for the festival, and to take steps for procuring a guarantee fund :— The Mayor, J. W. Atkinson, Robert Barr, George Brooke, S. J. Brown, George Buckton, R. M. Carter, H. Hnwson, J. N. Dickinson, E. C. Dray, Thomas Eagland, Sir Peter Fairbairn, John Gott, T. W. George, Joseph Gill, W. E. Hepper, Samuel Hey, Joseph Holt, William lllingworth, Walker Joy, James Kitson, J. i). Luccock, C. G. Maclea, Jnlian Marshall, T. H. Marshall, Joseph Middleton, H. Oxley, John Piper, jun., K. L. Rooke, Samuel Smith, J. M. Smith. G. Smith, J. W. 8cott, E. Stead, H. M. Sykcs, John Wilkinson, Jos. Wright, E. Wurtzburg, and A. J. Williams.

This was seconded by Mr. J. Kitson, jun., and carried unanimously.

Mr. G. Buckton said that at a meeting of the old committee recently held, a sub-committee was appointed to send out circulars for the meeting that day, and to draw up a series of resolutions. It was an instruction to that sub-committee to word a resolution recommending that the profits arising from the next festival should be divided as follows :—one half to the Leeds Infirmary, one-fourth to the Dispensary, one-eighth to the Eve and Ear Infirmary, and one-eighth to the Hospital for Women and Children. There was considerable discussion on the question, soma gentlemen being of opinion that the whole of the profit) should be again given to the Infirmary. (Hear.) He was not, however, prepared to move any resolution on the subject, but would leave it to any one present to do so.

Mr. G. Smith said he l>elieved there was some intention to build a new Infirmary for Leeds. If that were so, and the festival profits could be wholly devoted to the building fund, it would no doubt make the festival popular, and tend to increase its success.

Mr. Barr remarked that nothing definite was yet decided upon relative to a new Infirmary.

Mr. Smith suggested that the question of appropriating the profits should be deferred to a future time, so that opportunity might be given to decide the question concerning a new Infirmary

Mr. Wurtzburg was of opinion that the appropriation of the profits should be left for decision with those who subscribed to the guarantee fund. (Hear, hear.)

Mr. Carter said that the subject was thoroughly discussed at the meeting of the old committee, and they decided that the profits should be divided in the manner stated. He thought that one of tio greatest inducements to persons to subscribe to the guarantee fund would be a knowledge of the fact that the profits of the festival were to be divided amongst the principal charities of the torn. A great deal of dissatisf action was expressed at the close of m last festival because the whole of the profits were given to one charitable institution only. (Hear, hear.) There was the Dispensary, in North Street, which was equally deserving the support of the town, and stood quite as much in need of it as the Infirmary. (Hear, hear.) The question ought to be decided at once, and he therefore begged to move :—

That the profits of the next Leeds Festival be appropriated in if* following manner :—one-half to the Infirmary, onc-qnarter to the Dispensary, one-eighth to the Eye and Ear Infirmary, and one-eighth to the Hospital for Women and Children.

Mr. G. Buckton observed that the old committee were divided iu opinion as to fhc division of profits arising from the neit festival. It appeared to him that it would be a strong inducement to persons to subscribe to the guarantee fund, if they were told that by so doing they would have n voice in disposing of the profits. Of course there would be a distinct understanding that the profits were to be divided amongst some of the charities of the town.

Mr. Frost supported Mr. Carter's resolution, and remarked that the Dispensary had not received that support from the town which it fairly deserved. (Hear, hear.)

Mr. Wurtzburg then moved, and Mr. Buckton seconded :— That the appropriation of the surplus fund of the Fettiv&l be kit » the decision of the subscribers to the guarantee fund, it being an Bsuwtion to apply tho same to the purposes of one or more of the |«* charities of Leeds.

Mr. Hepper seconded the original motion. They must all be aware, he said, that considerable dissatisfaction was caused 'n ~ town by the exclusive appropriation to the Infirmary of the profitobtained by the last festival; and they would extend' the wrpuhritv of the next festival if they decided "at once to divide the surpras money amongst the different charities of Leeds. (Hear, hear.) Ct deferring the question they would meet with considerable opposta*: for it would very naturally be said that those connected with W Dispensary were a smaller body than at the Infirmary, and bv* majority of numbers on the guarantee fund list, injustice mights done to the Dispensary and the other charitable institutions. H( was one of the gentlemen who went to the Hoard Room of W Leeds Infirmary at th« close of the festival in 1858, to pre*** that Institution with the sum of £2,000. Of course it was accepted, but in his opinion it was received in an exceedingly coolm^1111^' and those connected with the Infirmary had given scarcely any encouragement to the Festival. Gentlemen would know that lie always spoke what he thought, and he certainly believed that the Festival Committee were not well treated by the patrons of the Infirmary.

The amendment was then put and lost, and Mr. Carter's motion was carried by 14 to 10.

A vote to the mayor, proposed by Mr. Joy and seconded by Mr. Dray, closed the proceedings.

The first meeting of the general committee is to be held on Monday afternoon next, when the honorary secretaries will be appointed, the sub-committees elected, and other important arrangements made for the festival.

IN RE READE AND MORE THAN READE. (not from the Saturday Review.) The letter from a French dramatic author which has recently come under the public notice was curiously well timed. With a tenderness and courtesy worthy of all respect it pointed out one of the most flagrant and ludicrous instances of that "cleptomania" which Mr. Charles Rcade has riddled through and through with the sharpest arrows of a literary quiver, inexhaustibly rich in arguments and illustrations. No reader of that powerful and attractive fiction, It is never too late to mend, will be surprised at the occasional eccentricity and the thorough nobleness and generosity of Mr. Charles Reade's commentaries on "The Eighth Commandment," as it is interpreted by our legislators, and obeyed by our playwrights, under cover of a certain proviso smuggled into the International Copyright Act of that famous millennial year 1851. "For in that year," writes Mr.Charles Reade, "the chief nations of Europe agreed that intellectual property should pass frontiers and sheets of water, yet still be property." Wo must do Mr. Reade the justice to say that he takes no pains to conciliate the goodwill of that class of writers which, to distinguish from the "independent" and the "immortal," he defines as salaried and ephemeral, a class to which, we fear, most journalists (unless they happen to be novelists or dramatists in the bargain) must belong. Perhaps we ought to despair of persuading so ardent ami eloquent an admirer of the present Emperor of the French, that even an English journalist, though " salaried and ephemeral," need not, therefore, be " incapable of a noble action or of a noble sentiment," or "the enemy not only of the country but of the human race." These harmless amenities belong naturally enough to a page devoted to the glorification of that eminent patron of "independent" and "immortal" literature, Napoleon III.; but whether they assist the cause of an English author, jealous of his country's legislative and literary honour, is a question we leave to the calmer reflections of Mr. Reade. At any rate, no ebullition of an "inkster," whom we delight to reckon among the "Immortals," shall prevent us from thanking Mr. Reade in the name of national honour and international justice for having written a volume which is something better than a good book, for it is a good action. It is not the fault of the author of Christie Johnstone that he cannot make even "The Eighth Commandment" dull as fact, and unsaleable as a syllogism. He has fought like a Paladin; but you forget his sufferings and his dangers when he caracols through nearly four hundred pages clad in a suit of dazzling armour of art, scholarship, logic, irony, science, anecdote, and sarcasm. No doubt Mr. Reade has learnt in suffering what he sings in such inimitable prose. He tells us that his chivalrous enterprise has cost him heartache, headache, and heavy loss; but the British public, who think that authors ought to be pillaged for the public good, will revel in the Cervantic humour of the sermon, and lose sight of the brilliant preacher's text. We cannot find it in our hearts to count among Mr. Reade's sufferings this admirable performance. "The Eighth Commandment" becomes, under his hand, quite as amusing and infinitely more instructive than a batch of "novels of the season," and he may be very well content if it is its own reward.

Who was it, then, that invented the shameful proviso in the Act of 1851, according to which the protection accorded to the works of foreign dramatic authors is "not intended

to prohibit fair imitations or adaptations of dramatic works to the stage in England and France respectively, but is only meant to prevent piratical translations?" By this proviso, as Mr. Reade proves exhaustively, and beyond the possibility of cavil, "the protection sold so dear to the dramatist in the heart of the statute is all juggled back, together with the heavy expenses the promised protection inveigles him into." The men who "ear* wigged" the legislature into an act of fraud were "the stupidest of all the literary pirates that filch under false colours," "the smallest dunces of the century,"—in other words, the playwrights who live on "adaptations" and "imitations" from the French stage. The result of this iniquitous and contemptible proviso has been the destruction of a national drama in a country which onoo had the finest national drama in the world, and the assimilation of the trade of playwright to the business of one of those establishments where rags, and bones, and " dripping," are bought and sold. Mr. Reade quotes, chapter and verse, the playbills of the principal London theatres during a single year; nine-tenths of the pieces are "adapted" from the French. It is notorious that within the last year or two plays written by English authors of repute and described as "original" have teen "adapted," scene by scene, from the French. There are English "dramatists" who have lived for years at the expense of the French inventors. No man who lives and moves habitually between Fleet Street and Pall Mall would hesitate to name the probable authors of a proviso which has closed the market to dramatic genius at home, starved all but the chiefs of the piratical crew, flooded the stage with exotic representations utterly and absurdly false to English life and nature, and, last but not least, sanctioned the robbery of the French dramatist under cover of a treaty supposed to protect him. No one who is fortunate enough to have a French dramatic author among his friends can be insensible to the deep stain which this miserable "adaptation " proviso has inflicted upon our national honour; and where the good opinion of a body so influential in the formation of public feeling and popular opinion as the French dramatic authors is concerned, an act of mere bad faith, involving damage to particular interests, becomes an act of grievous national impolicy as well as of grave international injustice. There is no alliance, as we have repeatedly insisted, between two such nations as France and England, so hopeful and enduring as a moral and intellectual alliance; but no such alliance can subsist on deliberate dishonesty on the one side, and a contemptuous sense of injury on the other. Mr. Charles Reade has completely annihilated the impudent sophistries of the piratical interest, who presume to hoist the banner of Free Trade, as if "duty free" meant " purchase free." Sometimes, indeed, Mr. Reade appears to be pointing a sixty-eight pounder at a "bluebottle," so inane arc the pretensions of his enemy. For instance, when he undertakes to prove that English genius is dramatic, that great novelists may be great dramatists, and that stolen French invention drives English dramatic inventors from the stage, and starves all but the leaders of the shameless gang, we feel that he is wasting excellent powder and shot. Alphonse Karr, years ago, drew up a law of copyright in a single clause, declaring that intellectual property is property. It will take a long time yet to convince a mechanical, industrial, and sporting Legislature that brainwork is work, and that intellectual produce is property. Mr. Reade shows how in the United States, where patent rights are strictly asserted, mechanical invention is in advance of all the world; whilst, in default of international copyright, American national literature may be said to exist only by favour of the occasional chivalry of a few English publishers. In France, though dramatic literature is by no means in the high moral and intellectual condition which Mr. Charles Reade, as an admirer of the Second Empire, loves to imagine, it is certainly flourishing enough, in a commercial sense, to pay the playwrights who adorn the Second Empire, and to pay them handsomely. But if we look at home, we find an English playwright described in the bills of one of the most respectable of our theatres as the author of Casimir Delavigne's best play, and of a famous drama by Alexandre Dumas.

Mr. Charles Reade, armed with poignant personal experiences, spurns the preposterous theory that " adaptation" is not less difficult than invention, for he has himself achieved conspicuous success in both. Only; when he proposed to adapt a French drama 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 irom suicide.

[panukge 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 Gawaino 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.~\


(From the Illustrated Times).

That these brilliant morceaux do bravoura should have attained almost unexampled popularity is not to be wondered at, considering the manner, at once clever and congenial, hi 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 lie 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.

English, who have expressed similar opinions to that of BunnVbut, 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.'"

Gkisi.—The report that Mad. Grisi intends to sin" at Her Majesty's Theatre, proves, as we hoped it would do, for her soke, a mistaken rumour.—Athenccum.

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.

Rotal English Opera, Covent Garden. — This establishment is announced to commence its third season, under the 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 Briti&h Musicians.—The Critic's fears are groundless.

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

Coblentz.—A short time since, Mile. Marie Cruvelli gave. > concert, at which she sang airs from. Rossini's Tcmcndi, 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 pieces, gained for her enthusiastic applause.

Ostehb (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. san» 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 Mile. Vronen and M. Libotton, for whom a brilliant career is in store, and who gave unqualified satisfaction. In shortM. Depret's concert satisfied the most critical, and the unanimous applause he received proves that his talent was deservealj appreciated.

Eastkhn Opera House, Pavilion Theatre. — Mr. John Douglas can hardly estimate his prima donna, Mad. Lancia, it her true artistic value, else it is not possible that he would niaM 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 orJoJ without breaking down is owing to her admirable method and itf indomitable energy. From the judgment, as well as enterprise exhibited in all former administrations by Mr. Douglas, we ®}1 nevertheless infer that such a hazardous employment of hisp?n' cipal operatic strength is to be attributed to necessity not choice. The difficulty of procuring a soprano singer who could with an)thing like success alternate performances with Mad. Lancia may be easily supposed; and the audiences of the Eastern Opera ft."6 been too well taught in the new campaign not to appreciate t e difference between legitimate and spurious talent, or to be saW"^ with mediocrity. Hence Mr. Douglas finds himself in "3.^V nnd Mad. Lancia is unintentionally made the sacrifice, or T1" TM provided no competent artist be discovered in time to sing on' ofF-nights. The difficulty is enormously increased now that tn. two great Italian theatres are about to be opened for fcngi^ opera, which of course involves the engagement of a large c<>m plcmcnt of our available artists; and itill further— if we are J"' formed rightly — by the conversion of Drury Lane and 1 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 Whitechapel. La Sonnambula fared something better, although Mr. Parki nson 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 et attempted. As for Mad. Lancia's Zerlina, it cannot be too ighly 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

Ssrfonnances by the military bands of the 11th Hussars and 84th egiment. 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 oil" 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

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.

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; Halifax (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.


We will put a question and try to answer it. This question is: What bearing nave 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.

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

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would answer, not at all; on the contrary, it is highly injurious to voices. All the mediocre manufacturers of male choruses speculate on the effect of the highest notes of the tenor-voice. Such an Amphionofthe 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.

An excursion generally proves fatal to some young promising 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, especially 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. Of course nobody can become interested 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 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 proportion 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 principal cause of this is the so-called cultivation of male part-singing. Really, if old Zelter—supposed to be the Columbus of the Liedertafels—could have known how this discovery would affect the higher vocal music, he would have looked at it with horror.— Berlin Vossiche Zeiluvg.

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 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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