ROYAL COLLEGE OF MUSIC, AT MANCHESTER.

To encourage Native Musical Talent, and to promote the general advancement of Music upon his New and Effective System; also as a

Dr. MARK is open to Engagements either for

THE FIRST ORCHESTRA,

Consisting of 30, 40, or 50 Performers, is conducted by Dr. Mark, and composed of the Advanced Pupils of the Royal College of Music, and some of the "Little Men," who perform Sacred, Classical, Operatic, and Popular Music. Also a Vocalist, Solo Harpist, Solo Pianist, and Organist-or

THE SECOND ORCHESTRA, Conducted by Mr. Wrigley, which consists of 30 Performers, and is composed of the "Little Men," who play Operatic and Popular Music, and sing favourite Airs and Choruses. Also a Vocalist, and Solo Instrumentalists.

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, lodging, 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.

Vocalists-Mad.

tion of Dr. WYLDE, with full Band and Chorus of 300 performers. LEMMENS SHERRINGTON, and Mad. SAINTON-DOLBY. Principal Violin, Mr. WILLY; Organist, Mr, G. LAKE; Trumpet-Solo, Mr. T. HARPER. Tickets at popular prices: Stalls, 5s.; Balcony, 3s.; Area, Is. and 28., at Messrs. Cramer and Co., 201, Regent Street; Chappell and Co., 50, Bond Street; Keith, Prowse and Co., 48 Cheapside, and at Mr. Austin's Ticket Office, St. James's Hall.

YANTERBURY HALL CONCERTS.-This Evening,

C. H. Gounod's Opera, FAUST, and selections from "Dinorah," "Trovatore," Macbeth," &c. After which, the ETHIOPIANS, consisting of Seventeen performers, 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.

BUCKLEY'S SERENADERS.-St. James's Hall, Picca

dilly.-Crowded houses every performance. Evening at 8. Saturday afternoon at 3. Tickets may be secured at Austin's Ticket Office, 21 Piccadilly, from 10 till 5. Stalls, 3s.; area, 2s.; gallery, 1s. Books of the Words, 6d. each. "The best entertainment in London."

FOR

MUSIC HALL, BIRMINGHAM.

SALE, by PRIVATE CONTRACT, this elegant

from the centre of the town to the fashionable suburb of Edgbaston, and within a few minutes' walk of the railway stations and principal hotels. It is most substantially erected upon a large plot of ground, the front part of which remains to be let off on Building Leases; and has handsome and spacious Entrances from the street.

The Hall is 111 ft. long, 76 ft. wide, and 70 ft. high, constructed to seat 1,830 persons, exclusive of the Orchestra, which accommodates 250 performers; and is fitted up with a large and powerful Organ, by Gray and Davison, built expressly for the room, at the cost of £1,500; and attached are Ticket Offices, Retiring and Refreshment Rooms, Kitchen, fitted with two Cooking Ranges, Hot and Steam Closets, &c.; and Heating Apparatus, by Haden, of Trowbridge.

The Building is in the Gothic style, suitably decorated throughout, and is furnished with appropriate Gas Fittings, Benches, &c. It is well adapted for Concerts, Lectures, Balls, and Entertainments, or for a place of worship, to all of which uses it has been constantly applied; and is easily convertible into a theatre or opera house.

For particulars, apply to Mr. James Cranston, 1 Temple Row West, Birmingham.

JULLIE N

FUN D.

Reviews.

No. 1 belongs to the vocal series, and comprises twenty songs by Mendelssohn, with pianoforte accompaniments. Among them will be found some of the most popular of the composer's vocal contributions to the drawing-room, such as "The first violet," "By Celia's arbour all the night," the "Cradle-song," "The pilgrim's song, "The song of the Savoyard," "The forsaken." Twenty songs by Mendelssohn, in an elegant form, for a shilling, is indeed one of the wonders of modern cheap literature.

99.66

No. 2 contains twelve songs by Mr. Balfe. They are "The green trees whisper'd," "The light from loving eyes," ," "Oh! boatman, haste !" "Go, lovely rose" (the poetry of which is not by Cowley, as stated, but by Waller), "The sands of Dee," "Christmas song," "Riflemen, form," "The moon is up," ," "Scenes of home," "Oh! would she but name the day" (Satanella ), "In silence, sad heart, go" (ditto), and "Good night, beloved!" Who that hath got music in his soul, and one shilling in his pocket, could refrain from becoming possessor of such a collection of vocal gems by England's most popular song-writer? The average price of each of these songs in the regular edition is two shillings; so that what virtually represents twenty-four shillings' worth of choice vocal music may be bought for the ridiculously low sum of twelve pence sterling!

IF cheap music be not a sign of the times, we don't know what is. This is avowedly a fast age; everything that tends to the enlargement of our ideas goes onward at railway speed; and the ball of progress, once set rolling, there is no stopping it- vires acquiret eundo. Perhaps cheap literature is the most remarkable example of the march of improvement in the present day. Books are not now one half the price they were twenty years ago. This cannot be attributed, except in a small degree, to the reduction on the price of paper, or in any degree to the price of labour, which is not reduced. Increased demand is the great secret. Quick sale and small returns suits the bookseller better than slow sale and large returns, since it brings him a greater capital, and allows him wider scope for speculation. The demand is a consequence of the spread of education, and thus knowledge and learning have proved the greatest stimulants to trade. Cheapness in music has even surpassed cheapness in general literature. Until within a few years the price of music was exorbitant. None except the wealthy could possess a musical library, and many a poor student was precluded from learning to sing or play by not having the means to purchase his airs or exercises. The danger is now that music has become too cheap, and that after a while Mozart and Rossini may become as common in the kitchen as in the drawing-room. This apprehension is founded on the supposition that what is cheap must become universally known, which is contradicted by the facts, that only certain things are appreciable by the popular ear, and that no intercourse or communion merely with things of a high order, without natural instinct, can beget taste and refinement. Certainly cooks and scullions may have the true feeling for music within them no less than the denizens of the parlour overhead; but it must be allowed that no little knowledge is required to thoroughly appreciate and feel the power and beauty of the great masters; therefore we are inclined to think that there is as little fear of music growing too common-in other words, being turned into burlesque-as of poetry; and that Handel and Beethoven stand as little chance of becoming popular in the scullery or pantry as Shakspeare or Congreve. Music, nevertheless, may be made universally popular without any prospect of the servants' hall in view, and works may be chosen by those who undertake its dissemination which are perfectly constituted to please all tastes. Foremost among those who have devoted their energies to the spread of cheap publications stand Messrs. Boosey and Sons, whose issues in various branches of the art have been noticed on sundry occasions. The latest contributions of this enterprising firm to cheap musical literature is their "Musical Cabinet; or, Collection of Standard and Popular Vocal and Pianoforte Music," of which there have already appeared about twenty numbers. The size is convenient, the type admirable, the paper of excellent quality, and the cover extremely neat and handsome. The whole work, which extends to 48 pages, on the average, in each number, is got up in first-rate style, which, with the intrinsic value of the contents, when sufficiently known, cannot fail to ensure it a very large sale. The price is only one shilling a number, so that the vocalist or pianist, for a few shillings, may obtain a collection of music which, not long since, would have cost him nearly as many pounds.

We shall specify the contents of one or two of the numbers, that the reader may be enabled to form his own opinion as to the worth of the Musical Cabinet.

No. 3 also belongs to the vocal series, and supplies fourteen songs from the most popular operas of Verdi, translated into English. The first of these is the lovely air, “La mia letizia," from I Lombardi, the English verses of which we quote as a sample of how the translation has been effected :"So sweet her voice falls on mine ear, Such soft delight its sounds impart, Like music from some distant sphere, It fills with joy my beating heart! Oh! not for her this earth beseems, More dear the pure and tranquil skies, Where mortal thoughts and mortal dreams Ne'er wake and beauty never dies!

Go, say how fond and true am I,
How constant time and change above!
That still this heart doth soar on high,
Unto the heav'n of her love!
Though danger now and fears combine,

This hand and arm shall set her free;
To win her heart, and call her mine,
I'd yield my life and liberty!"

The remaining songs in the collection are taken from Rigoletto, Luisa Miller, La Traviata, Il Trovatore, Nabucco, and Simon Boccanegra.

No. 4 is again vocal, and includes twenty songs of the Christy's Minstrels, with chorus and pianoforte accompaniments. This collection presents most of those nigger melo dies which obtained such immense favour with a certain section of the tuneful public, during the reign of the cele brated dark minstrels from the remote west in London. Who does not know, and what barrel organ has not sounded, "I'm off to Charlestown," "Beautiful star in heaven so bright," "Oh! Willie, we have missed you!" "Hoop de dooden do!" "Wait for the waggon!" and "Ellen Bayne?"

No. 5 is the first of the Pianoforte Series, and comprises no less than fifty waltzes from the pens of Gungl, Tinney, Laurent, Wagner, Montagne, Gollmick, Lamotte, Marschan, and Alfred Mellon. No. 6 has twelve quadrilles by popular composers. No. 7, Fifty Polkas and Galops "by the most emi nent authors, with all the trios and second parts complete" No. 8, "Twenty-five gems from Verdi's favourite operas, ar ranged for the pianoforte." No. 9, " Nine Original Pieces by Joseph Ascher." No. 10, "Ten Nocturnes and Mazurkas by

WORL

PE

Talexy, Wely, Goria, and Cramer." No. 11, "Twelve Drawing-room Pieces for the Pianoforte, composed by Oesten, Dreyschock, Rosellen, Leduc, Comettant, and other popular composers." No. 12 but we have cited enough at present to show what the Musical Cabinet is like, and shall have occasion to return to the subject by and by, when, as the publishers have announced, Fifteen Songs by Beethoven will appear, as well as English duets by Mendelssohn in separate numbers. Pending this, we can warmly commend the collection of Standard and Popular Vocal and Pianoforte Music to the consideration of amateurs.

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

Nov. 7, 1860.

I HAVE fallen somewhat in arrear with my chronicle of the musical and dramatic events which happen or resound in this fair capital. Happily the last fortnight has not witnessed many noteworthy occurrences in my sphere of observation, and, therefore, I can fetch up my leeway with but little difficulty or risk of wearying the reader. The Italian Opera is now in the full swing of the season, and latterly there has been a complete run upon Rossini. Il Barbiere with Mad. Alboni, and MM. Badiali, Zucchini, Gardoni and Angelini, and Cenerentola have awakened all the early and bright memories of old opera-goers. Badiali's Figaro, though not so fresh and youthful as might be desired, is admirable in style, and Gardoni's Almaviva exhibits both talent and grace. The Rosina of Alboni, however, is matchless. In the singing-lesson, she has gone back to Rode's air again instead of the piece by Hummel, which she had latterly substituted for it, and all who heard her had reason to be thankful for the change. But with so lovely a voice it matters but little what she sings. The most commonplace strains are converted into strings of pearls as they issue from that enchanted larynx. Alboni's reception in Rosina was a succession of encores and calls before the curtain. Ceneren

tola was not quite so warmly received. It is difficult to say why, for it is a masterpiece of the buffo style, and proceeds throughout with unflagging spirit. The finale of the first act and the sextuor, Questo nodo, are pieces, which once heard, engrave themselves for ever on the memory. Alboni was, of course, the principal figure in these as in the first-named opera. Her final rondo was electrical in its effect, and the last variation was called, or rather shouted, for, unanimously. Gardoni and Zucchini were well up to the mark, and Badiati's Dandini was of the good old stamp, and showed that this artist is thoroughly master of the secret of the buffo style which so enchanted our fathers.

Halevy's Val d'Andorre has been produced at the Théâtre Lyrique, having been made over to that house by the former manager of the Opéra Comique. M. Beaumont, it is said, would have rescinded the bargain, but that he feels himself bound in honour to keep all the engagements of his predecessor, especially as the manager of the Théâtre Lyrique was eager for the transfer. M. Bataille, now a member of the latter house, resumed, of course, his original part of the goatherd, and Mad. Weillet, recently engaged, filled that of Rose de Mai.

The Pardon de Ploermel has been produced at the Opéra Comique, with the remarkable feature of the part of Holl being sustained by the female bass, Mlle. Wertheimber. Her success was complete, and Mlle. Wertheimber entirely won the favour of her audience by her excellent acting, and the masculine vigour of her singing. Mlle. Monrose made her first appearance as Dinorah, in which she showed considerable grace, and a power of free, nimble, and correct execution. Mile. Belie sang the scena, written by Meyerbeer for the Italian version played in London.

M. Beaumont has just accepted an opera, in one act, by M. Theodore Pritter, entitled Marianne. The book is by M. Jules Prevost. An opera, in three acts, by M. Limnander, is also accepted, of which the words are by M. Rozier.

Of theatrical news there is little. The Odéon has brought forward two tragic actresses, Mlle. Karoly and Mlle. Mea, who are dividing the town with their rival pretensions, and have caused

Racine's periwig to be taken out of its box and fresh curled. The prevalence of the classical mania has not however prevented the success of a modern work, a drama by M. Bélot, entitled La Vengeance du Mari. M. Octave Feuillet's new play, Redemption, Variétés has done a good stroke for itself in producing a three-act continues to attract large audiences at the Vaudeville; and the vaudeville, called Un Troupier qui suit les bonnes.

M. Roger, the celebrated tenor, has been fulfilling an engagement at Hamburg, where he has appeared in the Prophète, the Huguenots, the Favorite, &c., in fact the whole round of his parts, for the Grand Opera.

Berlin is now in possession of two Italian companies, one conducted by M. Merelli, of which Mlle. Trebelli is a member; and the other under the management of M. Lomi, at the Victoria Theatre. The celebrated danseuse, Mad. Ferraris, is also here, being engaged at the Royal Opera House, where she is to appear in a ballet by M. Taglioni.

At Dresden they have been inaugurating the statue of Weber. All the vocal and instrumental societies of the city were engaged in the ceremony, and the cantata by Rietz, was performed by the musicians of the Royal Chapel.

I am informed by a correspondent from Vienna that among the pieces named in the programme of the Philharmonic Concerts for this year, is a cantata, which Mozart composed for the Masonic Lodge, "Hope Crowned." It was sung in this lodge by Adam Berger, and published by Artaria.

The marriage of M. Littolff with Mlle. Louise Maria Josephine de Larochefoucault, which I announced to you as on the the tapis, was duly celebrated last week at the chapel of the English embassy in Frankfort. The lady, as we before mentioned, is the daughter of the Count Wilfrid de Larochefoucault, grand-daughter of the Duke who was ambassador in Prussia under the First Empire.

An edition of Schubert's Roi des Aulnes has just appeared, with orchestral accompaniments by M. Berlioz.

There are probably very good reasons for this praise of the opera in question, and experienced musicians understand them; but I apprehend there are many of your readers who, like myself, want teaching on the subject, and that, to such, a short essay on the leading peculiarities of the English dramatic music of the day would prove most interesting.

Let some clever critic, then, enlighten our understandings, and give us a key to Wallace, Balfe, and Loder, all of whom, as well as Mr. Macfarren, will be heard during the present season. Your obedient servant,

IGNORAMUS.

[About one thousand essays on the subject proposed by "Ignoramus " have appeared in the MUSICAL WORLD. Let "Ignoramus" chew, swallow, and digest them all, and he will become, more or less-less more than less, perhaps― "doctus."-ED.]

A QUERY.

Nov. 5th, 1860.

SIR,-A young lady, very desirous of making music her profession, and possessing (according to judges whose opinion is of some weight), a very rich, powerful, two-octave mezzo soprano voice, would be much obliged and indebted to the editor if he could inform her of any means of apprenticing herself somewhere abroad, where her musical education could continue, and yet with certainty of appearing in public.

A CRY FROM THE PIT. SIR,-Might I beg the favour of the insertion of a few lines in your valuable columns to call attention to a manifest "take in" (to use a common though inelegant expression) on the part of Mr. E. T. Smith, or some of the authorities of Her Majesty's Theatre, towards the frequenters of that establishment-viz., the fact, that in order to afford (I presume temporarily) more accommodation in the matter of additional so-called stalls, they have taken three rows of benches from the pit, and having numbered them, have left them entirely innocent of any cushions for or divisions between each seat; the passage, moreover, being so narrow that the knees of those behind are in most uncomfortable, not to say unseemly, proximity to the back part of the crinolines of those in front. Having done this, they nightly fill these pit seats (for they are nothing else, the entrance to them being also from the pit) with ladies and gentlemen who have paid for stalls?

I merely call attention to this proceeding, not to find fault with the seats in themselves as pit seats, but to protest against being made to pay for them as stalls.

I enclose a card, and beg to remain, Sir,

Yours obediently,

A SUFFERER. [The fault lies with Mr. Macfarren and his Robin Hood. -ED.]

MONMOUTH HALL, WESTBOURNE GROVE.-(From a Correspondent.)-A performance of sacred music, chiefly from the oratorios of Handel, Haydn, and Mendelssohn, took place here last Wednesday evening. The principal singers were Miss E. Withers, Mr. Buckland, and Mr. Walker. A small but complete choir added greatly to the general effect. Mr. Albert Lowe, organist of Brunswick Chapel, Portman Square, presided at the grand patent harmonium and pianoforte. Miss Withers was much applauded in "Oh, rest in the Lord," and "Angels ever bright and fair." The bass solo, "Jacob's lament," composed and sung by Mr. Buckland, was given with much effect. Mr. Walker was successful in "Comfort ye, my people." The choristers of the Temple Church performed Kent's "Hear my prayer" with the utmost precision, and the duet part was sung with much sweetThe choruses, especially "Hail Judea," "Lift up your heads," and "Hallelujah," were admirably rendered, and reflected much credit on the conductor, Mr. Thorne. Mr. Albert Lowe played as a solo on the harmonium a selection from Mozart's Masses, which highly delighted the audience. The neat and comfortable hall is quite new, having been opened but a few weeks.

ness.

BAND OF THE ROYAL HORSE GUARDS.-We understand that a vacancy for a good clarionet player will shortly occur in the above distinguished regiment. Candidates are requested to apply at Messrs. Boosey and Sons', 24, Holles Street, London, from 11 to 4.

ROYAL ITALIAN OPERA.-Mr. Gye has engaged Signor and Mad. Tiberini for the season of 1861. Report speaks highly of both.

MEYERBEER, &c. By C. L. G.

(Continued from page 690.)

Between the production of Robert le Diable and Les Huguenots nearly five years elapsed. It was on the 29th of February, 1836, at the Académie Royale de Musique, that we "assisted" at the first representation. Here is our dilapidated book of the opera under our eyes as we write; for with that programme have we again and again, for years and years, listened to that profound work, always being more enlightened as to the subtle details, and never flagging in excitement as the music rises with each situation in sentiment, passion, and grandeur. We see before us that Jewish maiden, Mile. Falcon, with her lustrous eyes, her wonderful compass of voice, her deep sensibility, and intense enthusiasm. We see her clinging to the knees of Raoul-we still behold her uplifted eyes, as the nuptial benediction was pronounced in death by the inspired Marcel. Adolphe Nourrit, that model Robert, is in the group as the devoted Huguenot; and Levasseur, with his peculiarly metallic vibration of voice, completes the reminiscence of the palmy days of the Grand Opera in Paris, which ceased with the death of Habéneck. Mad. Dorus Gras, then in her glory, was the Marguérite de Valois; there was a resonant voice in the Page, sung by Mlle. Fléchieux, a part afterwards arranged for Alboni, with an additional air by the composer. Nourrit was soon succeeded in Raoul by the grand declaimer Duprez, who eclipsed his predecessor in the part as much as Mario subsequently extinguished Roger and every tenor who has essayed the Huguenot cavalier since Duprez. Well-a-day! Our book is much tornour notes thereon are in some degree effaced, and yet we could almost be tempted to write again a notice of our impressions of this marvellous lyric tragedy.

*

The foundation of the Royal

Italian Opera at Covent Garden Theatre was the victory of art over the star system. Even the Lind mania could not put it down. Apart from those amateurs who are satisfied themselves with hearing one particular vocalist, the great body of the public has become keenly alive to the attractions of an ensemble. The thanks of every connoisseur and professor are due to Mr. Costa for this improved taste and appreciation. The production of the Huguenots, in 1848, secured for the Royal Italian Opera its permanent position.

66

The impediments and difficulties thrown in the way of the work were most irksome and trying. The Italian singers rebelled, and raised every obstacle during the rehearsals. Viardot was the Valentine, a part in which she had created a profound sensation in Germany; but Mario was the Raoul, and the Italian clanship interfered with this cast. Viardot took infinite pains with the rehearsals; but July had arrived, and there was no probability of their termination. It is to the musical taste and intelligence of the Queen of England-a great admirer of Meyerbeer's musicthat we owe the ultimate production of the Huguenots, after such eternal delays. Her Majesty had graciously signified her intention of honouring the Royal Italian Opera with a State visit. As is usual on these occasions, a list of works was submitted to the Queen for selection. In this list was placed the Huguenots; and on the assurance being given that, if commanded," the work would be ready, her Majesty directed that the Huguenots should be the opera for the royal visit. At this amiable manoeuvres, which distinguish operatic coulisses, as much command, cabal, diplomacy, intrigue, jealousy, and all those as the political circles, fell to the ground, and on the 20th of July, 1848, the Huguenots was heard. The prognostications of a failure were singularly falsified. The proverbial quietness of audiences at royal visits gave way to demonstrations almost as fanatical as those of a Scala auditory; and the royal amateurs in their State box, in the centre of the house-Mr. Gye having, with great taste, pulled down the façades of many front boxes to do honour to the Queen-were seen to join heartily in the plaudits which greeted the leading singers and Mr. Costa. Had it not been for this eventful night, the Royal Italian opera would have ceased that season at Covent Garden, and art would have been thrown back perhaps for years and years. The birds of prey-prompt to seize upon a great victim, tear it to pieces, and then feed and fatten on