The success of Love's Triumph increases with each representation, and the improbabilities of the plot are overlooked in the beauty of the music and general excellence of the performance. This week the new opera was given three instead of four times, in consequence of the services of Miss Louisa Pyne and Mr. Harrison being required at Liverpool on Wednesday evening for a charitable performance. Love's Triumph continues to be alternated with the most popular works of the repertory in which Mdlle. Parepa can take part, such as The Bohemian Girl, Dinorah, Maritana, and Fra Diavolo.


At the fifth (107th) concert, on Monday, St. James's Hall was crowded to the doors. The concert was one of the most attractive ever given. Besides the quartets—and there were two on this occasion—and besides the fiddle solo (J. S. Bach, of course) the vocal department assumed a new importance. Mr. Sims Reeves made his first appearance since the summer, and was welcomed with acclamations. Both his songs—"Gentle airs" and "Adelaida" -i-were rapturously encored, and, in great good humor (no wonder, at such a reception), the valiant champion of the "no encore" system complied in both instances. His voice was in first-rate condition (thanks, in a measure, to the air and early hours—if not to the water—of Ilkey Wells), and he sang his very best, Verbum sat. In the air from Handel's Athaliah, Sig. Fiatti played the violoncello obbligato; in "Adelaida" Mr. Lindsay Sloper was at the pianoforte; in each the combination was irreproachable.

The other vocalist was Miss Martin, for whom were set down Schubert's " Aufenthalt" (the English version—'.' Torrents whose waves,") and Mendelssohn's " Zuleika" (No 2—in E major). Both are impassioned songs, and therefore unsuited to Miss Martin, who, though she sings well, sings without passion.

The quartets were Beethoven's No. 7 (" Rasoumoffsky," in F), and Haydn in C major (No 3, Op. 33) :—

[graphic][merged small]

In every instance, he excited the enthusiasm of the audience to 41 fever point."

The pianoforte sonata was one by Cherubini, in- B flat (from a set of six), the pianist Herr Pauer, who also played Hummel's brilliant trio in E, most brilliantly—with Herr Joachim and Sig. Piatti. Of Cherubini's sonatas we intend to speak on another occasion.

The concert was altogether delightful. At the next, Herr Joachim (among other things) will lead Mozart's divine quintet in G minor; and Mr. Sims Reeves will sing the not less heavenly Liedtrkreis of Beethoven.

CRYSTAL PALACE CONCERTS. The commencement of the winter musical season at Sydenham must not pass without a word or two of recognition. The uniform excellence of the first concert, both with regard to programme and execution, showed Herr Kapellmeister Auguste Manns determined to sustain the credit of an institution which, under his fostering care, has grown to such importance. The performances of the "Crystal Palace Philharmonic" (why not?) are, indeed, equal to anything this music-loving country can boast. Theyare model entertainments of their class—neither too long nor too short, almost invariably well made out , and quite invariably well presented. How much of this is due to the conductor, we need hardly insist. Herr Manns has laboured assiduously at his task, fought, with a perseverance derived from inward faith, against more than one prejudice, and ultimately established Ufa concerts upon so firm

a basis that their periodical re-occurrence is looked forward to with unfeigned interest by amateurs of music in and about London. Moreover, he may be said to have " created" an orchestra for his own special uses, and trained it to such strict discipline that anything approaching an unfinished, much more a careless or a slovenly performance, is scarcely within the limits of probability. The players in this orchestra obey the indication of their conductor's stick as closely and expeditiously as Ariel the wand of Prospero. In short, not to mince words, the band of the Crystal Palace, although less in number than by many could be wished—fewer than the "60" pronounced "enough" by Beethoven—is inferior in quality to none with which we are acquainted. Not merely does it play well when engaged solely on its own account, as in overtures and symphonies, but accompanies well where singers or instrumental soloists are concerned. This, it must be allowed, is too rare an accomplishment not to be accredited, with all due honour. In short, Herr Manns has done Justice to his employers and won a musical reputation for the Crystal Palace. He has a right, therefore, to claim the support and encouragement of those whom he serves with so much zeal and honesty of purpose. The winter concerts (of "good" music) are the medium through which alone he has any chance of obtaining public recognition, while at the same time he is upholding the dignity of that art of which he is a truly devoted follower. The programme at the first concert was as follows:—

Symphony No. 4 in B flat N. W. Gade.

Rondo—" Pensa alia Patria" (Madcmoiselc Zeiss) ... Rossini.

Serenade—" Oh, Moon of Night" (Mr. Bantley) ... A. Manns.

Concerto, violin, in £ (Herr Joachim) Spohr.

Cavatina—" Ah ! quel giorno." (Mademoiselle Zclsse) ... Rossini.

Song—" Bliss for ever past" (Mr. Santley) Haifa.

Overture—" Der Frclscuuta" ... Weber.

The symphony of M. Niels Gade—that Danish composer whom, nearly twenty years since, Mendelssohn, always more alive to talent in others than desirous of exhibiting his own, so generously took by the hand—was given for the first time in England, but not, we may be sure, for the last, if Herr Manns is left to decide. It is one this conductor's characteristics that he is no exclusive past-worshipper—perhaps not at all times sufficiently reserved, indeed, when surveying the productions of the modern school of writers (Germans especially), of whom M. Gade, though by no means a composer of genius, is one of the sanest, Spohr's violin concerto, in some respects his best, was the most striking feature of the programme—and this owing even more to the superlative execution of Herr Joachim than to the admirable beauties of the work. Without applying a string of laudatory epithets to this unequalled artist —of which he stands in no want—we may add, in a sentence, that tho concerto could not possibly have been played better. The audience listened to it from one end to the other with marked attention and evident delight, applauding and recalling Herr Joachim, at the termination of the last movement, with downright enthusiasm. The overture to Der Freischutz—either movement of which contains more ideas than the allegro, andante, scherzo, and finale of Gade put together—was a genuine triumph for Herr Manns and his orchestra. Weber himself would have been more than satisfied, and have gathered some compensation for the torture to which he was occasionally subjected during the preliminary rehearsals of his Oberon, nearly 40 years since, at Covent Garden Theatre.

The vocal music was unimpeachable. Mr. Santley (we need not praise Mr. Santley,) took equal pains with the serenade ot Herr Manns, and the ballad from The Puritan's Daughter (one of Mr. Balfe's happiest inspirations), and was heartily appreciated in both. Mademoiselle Zeiss—a new contralto—has a flexible voice, with considerable ease of vigour and delivery. She aimed high in selecting two of Rossini's most difficult airs, but was cordially encouraged, and indeed deserved the applause she obtained. "God save the Queen," and the " Danish National Air," arranged for the occasion by Herr Manns, brought the concert to an end. The room was so inconveniently crowded that the act'of closing the staircases leading to the galleries immediately after the commencement amounted to arbitrary despotism. At the beginning of each piece such a precautionary step may be advisable; but we question the expediency, not to say the right, to bar the ingress and egress of visitors during the entire performance. Good taste should prevent any part of an audience from disturbing the enjoyment of attentive listeners; but surely those who pay for admission are entitled to the privilege of hearing as much or as little as they think proper.'

After the concert the new gas candelabra in the nave were lit up for the promenade, during which Mr. James Coward, organist to the Crystal Palace, with his accustomed skill, gave selections from Handel, Mozart, Beethoven, Mendelssohn, aud Meyerbeer (besides an improvisation), on the great organ in the Handel orchestra. Altogether the entertainment was one of the most delightful that can be imagined. At the second concert (to-day) Herr Joachim is to play Mendelssohn's violin concerto.

• The director of the Monday Popular Concerts has found a way to Obviate inconvenience on either side.

Jtttms to % mat.


Sib, Can you inform me (through the medium of your valuable

paper) of the names of any composers who purchase songs and poems to set to music. The terms I should wish to make for certain poems of mine (some of which, I think, are well suited for music) would be very liberal; and, in addition, the choice of tunes would be in the composer's hands as well as the selection of pieces. Yours obediently,



Sib,—that you, or any of your numerous readers, inform me whether an English edition of the above is published, and if so, the name of the publisher? I have a New York copy, sold at 25 cents; but a friend of mine, wishing to procure a copy, has been unable to meet with one here. Yours faithfully, G. ¥. G.

[Charles Aurchetter is published by Messrs, Hurst and Blackett.

—ed.] _____

(From our own Correspondent.)

Pabis, Nov. 13th.

Still the musical world of Paris is sufficiently dull in actual accomplishment, and my letter, in a great measure, must relate to what is likely to take place. Nothing new at the Grand Opera. M. Miehot, having recovered from his recent indisposition, has reappeared as Manrique in the Trouvere. The debuts of It Bonnesseur, the new pensionnaire of the opera, will be made shortly in St. Bris, in the Huguenots. Mario will appear most probably on Sunday in the Muelte. This is the extent of my hebdomadal budget anent the doings of the Academic Impe'rlale de Musique et de Danse.—The tidings about the Theatre-Italien are equally in prospectu. To-night the Cost fan tulte will be produced for the first time, I believe, in Paris. You shall have a full and true account of the performance in my next. A priori I cannot anticipate a very favorable reception for Mozart's exquisite and too much neglected work. The French have but little liking for "absolute music," as Richard Wagner says. Mozart is too ideal, too abstract for them, and appeals too much to the intellect to gratify those who are pleased mostly through the senses. I shall be glad to write myself down in error, but verily I have my fears. The debut of Mdlle. Adelina Patti is fixed for the 16th. La Sonnamhula, I hear, will be the opera. This is a better choice I think, than the Barbiere, which was spoken of, but which I can hardly fancy was ever in contemplation, else why give the opera so frequently with Alboni, whose Rosina is incomparable. The rumour was incomPatti-ble with reason. Mdlle. Patti has arrived in Paris. Semiramide was given on Sunday for the first appearance of Signor Agnesi. I was unable to attend, but shall be in my seat at the next representation, and send you my report. I hear from many that the new baritone is good, if not great; an acquisition if not exactly a Filippo Galli nor an Antonio Tamburini.—A new opera in one act, entitled I.e Cabaret des Amours, the libretto by MM. Barbier and Carrfe, the music by M. Pascal, has been produced at the Opera Comique with success. I may allude to this further in my next.—The Theatre Lyrique has commenced its campaign with brilliant eclat in its new abode. After two successful representations of the Chatte Mervettfetue, M. Maillart's pleasing and popular opera Let Dragons de Villars was reproduced and played several times. M. Buvard, the new tenor, appears to much advantage in the character of the hero, and Mdlle. Girard sings and acts most charmingly in the part of Rose Friquet. Madame Viardot has appeared in Orphie with all the usual effect. The general performance of Gluck's grand old work is extremely good. A new opera in four acts by Prince Poniatowski is announced. The principal characters have been assigned to Madame Marie Cabel, M. M. Battaille, Monjauze, Sainte-Foy and Balanqiife. By the way, Madame Miolan Carvalho will play the part of Arline in the French version of Mr. Balfe's Bohemian Girl.

New Obatokios.—Three new oratorios are talked of in the German musical papers:—A iStt. Elisabeth, by Dr. Liszt (not yet produced); a Raising of Lazarus, by Herr Vogt: and a St. Peter, by Herr Berthold of St. Petersburg. This last announcement makes it expedient, in avoidance of future question, to state that Mr. Benedict's oratorio, on which he has been for some time engaged, is on the subject of St. Peter, arranged for music by Mr. Henry F, Chorley, with words from Holy Writ,—Alhenoeumi


The libretto of Mr. Wallace's new opera, entitled Love's Triumph, is founded on a French comedy entitled Le Portrait Vivant. The daughter of a Dutch burgomaster is the "living portrait" of a French princess, or, rather, a French princess is the "living portrait" of i Dutch burgomaster. Indeed, she (the French princess) is so like her (the Dutch burgomaster's daughter), or vice versi, that even the audience, who are of course supposed to be more or less in the author's confidence, are sometimes puzzled by the resemblance. In the original piece an inanimate picture and the "living portrait" are introduced; but in Mr. Planche's operatic adaptation the burgomaster's daughter comes bodily on to the stage in one scene, and the princess in another until—as both personages are represented by the same performer—one feels considerably puzzled at last as to the identity of the principal character or characters, and inclined to call, not for the author of the libretto, but for the author of "AVho's Who?" to explain to us what the libretto, with its princes and its burgomaster's daughter, really mean. The most fatal notion to conceive in connection with this mysteriously-constructed but clearly and cleverly written little drama is, that the princess is, somehow or other, the daughter of a burgomaster. The hypothesis is not utterly absurd; but it is altogether untrue. Tha princess and the burgomaster's daughter are two distinct individualities, though both are represented by Miss Louisa Pyne, who, as one or other, is, fortunately for the success of the opera, constantly appearing on the stage.

The burgomaster's daughter—Theresa by name—is engaged to marry Count de Canillac, but is in love with and beloved by Adolphe de Savigny. Adolphe, instead of standing his ground like a man, runs off in despair, like an operatic lover, to join the army. Before reaching the camp, however, he meets with some adventures at the court, is introduced to Mdlle. de Valois (the princess^), is of course struck by her marvellous resemblance to Theresa (she is, in fact, as much like her as Miss Louisa Pyne is to Miss Louisa Pyne), saves her life at a but inspires her with something more than interest, convinces her by the ardour with which he kisses what appears to be her portrait (but which is, in fact, that of Theresa) that he is passionately in love with her, and finally is enabled, by her noble generosity, to marry her rival, who to the audience appears to be no other than herself. All this is very provoking. Adolphe, in the eyes of the audience, is beloved by one and the same young lady throughout. Call her the princess, or the burgomaster's daughter, or Theresa de Valois, or Son Altesse Royal* la Princesse van Groot, we always know her to be the same by her beautiful soprano voice and her exquisite singing. We feel no commiseration for the princess when she gives up Savigny without losing him; nor can we congratulate Theresa when, never having lost him, she receives him back. In short, Mr. Plancho has made an important dramatic mistake, which is the more to be regretted inasmuch as his libretto is incomparably superior, in a literary point of veiw, to the great majority of such productions.

The effect of hearing Mr. Vincent Wallace's opera once has been to make us anxious to hear it a second time, but not to enable us to give a full account of it. To form a thorough acquaintance with a picture so as to be in a position to pronounce a decided opinion on its merits may be the affair of a minute or of any longer period. To a person who can judge at all, a single inspection must be as good as a great many—simply because it may be prolonged indefinitely. But in listening to a new opera one has to catch the sounds as they fly; for it cannot be expected, unless the music be very impressive, and the memory equally retentive, that they will fix themselves on the mind's ear (surely the mind has an ear as well as an eye) all at once. There is no going back to a remarkable passage, except in the case- of encoreshonours which are generally accorded to most unimportant pieces, the mere insignificant hors-d'oeuvres in the great operatic feast; or, perhaps, we should call them entrees, those ballads that are introduced on all possible occasions, and which, like the notorious side dishes of the London pastrycooks, are all served up with the same sauce. There are, indeed, many points of resemblance between an opera and a dinner, from the overture, which may be compared to the soup, to the inevitable bravura for the prima donna at the end—which, of course, is the desert. There are operas in which we could point distinctly to the souffle, the pudding, the roast beef, the goose. Then like a dinner, no opera is considered complete without the introduction of " wine, wine, wine," or " the glorious vintage of champagne," to say nothing of'1 punch," and the " porterbeer" celebrated by the young man with the baritone voice in Martha.

Love's Triumph is a repast of a light and elegant kind. It seemed to be highly appreciated on Monday night. It was applauded from beginning to end, and to some of the dishes (chiefly the aforesaid entries), the public insisted on being helped twice. After one or more repetitions of the entertainment, we shall take upon ourselves to speak of it in detail. At present we can only record its complete success, and, in a general way, the gratification which it afforded us personally.


From the Illustrated Times,

St. James's Hall.—Mdlle. Louisa Van Noorden gave a concert on Thursday evening, which was well attended, considering the state of the weather. The fog indeed within was almost as dense as the fog without, and must have been anything but encouraging to the visitors or acceptable to the Bingers. The vocal artists, with Mdlle. Van Noorden, comprised Mdlle. Giorgi, Miss Leffler, Mr. Sims Beeves, and Signor Fort una. Mdlle. Florence Lancia's name was in the bills, but the lady was indisposed and could not appear. The instrumentalists were Messrs Charles Salaman, P. E. Van Noorden and pupil (pianoforte), Herr Pollitzer (violin), and Herr Lidel (violoncello). A strong infusion of the classic element was one of the features of the programme. Beethoven's trio in B flat. Op. 11, for piano, violin, and violoncello, executants' Mr. Charles Salaman, Herr Pollitzer, and Herr Lidel, and Mozart's sonata In E minor, for piano and violin, Mr. P. E. Van Noorden at the piano, were both excellent performances, and were most liberally applauded. The singing was very effective. Mr. Sims Reeves, who, by his stay in the porte seems to have gained new strength and wealth of voice, a very scorner of fogs on Thursday night , sang gloriously, and with as much freedom and power as though he were inhaling the clear atmosphere of the south, in place of the condensed smoke and. cloud of an English November atmosphere. This scorner of his native fogs gave the song from W. Balfe's Cantata Mateppa " She walks in queenHkc grace," not only as well as ever but better than ever, if that were possible (which it is not) and was recalled tumultuously. He also sang a ballad from Herr Meyer Lutz, cantata, Heme the Hunter, "Sweet flow'ret, leave me not thus lone," which was rapturously and most deservedly encored. Mr. Reeves also joined Miss Van Noorden in two duets, " Pangi, O cara" from the Traviata and " Tornami a dirs" from Elitir (TAmorc, both of which pleased infinitely. Mdlle. Van Noorden has a powerful soprano voice, which we think would be very effective on the stage. Her solos were Paceni's cavatina " 11 soave bel contento" and Eckert's " Echo Song," in both of which she was highly successful The Concert was brought to a conclusion at a reasonable time—a special recommendation.

"Romoub," writes the Athenaeum'' has many things to say concerning the Limited Liability English Opera Company. Some aver that nothing is decided beyond the postponement of every attempt for the present;— others declare that Robin Hood is to be the first opera, given as on its production, by Madame Lemmens-Sherrington and Mr. Sims Beeves, as hero and heroine, and with one of the Messrs. Braham as leading baritone. 'Time is going by : if the projected undertaking is to have any season, it is hign time that the public should hear something more than rumours—none, possibly, of which are correct." [The Athenosum may read our correspondence.—Ed.]

- Dresden The prospectus of six orchestral concerts to be given

during the coming winter at Dresden undertakes for the performance of works by Haydn,- Mozart, Beethoven, Weber, Spohr, Handel (his "Water-Music"), Mendelssohn, Lindpaiutner, Schubert, Berlioz, Bietz, Rubinstein, Schumann, Gade, Bargiel, Veit, Reissiger.

Cheltenham—Two concerts took place on Tuesday week at the Montpellier Rotunda, and were well attended. The only drawback was the indisposition of Madame Gassier, who, however, sang at the morning concert, but was too unwell to sing in the evening. Notwithstanding this, a concert with such singers and instrumentalists as Madame Cruvelli, Mr. Swift, Herr Hermanns, Madame Arabella Goddard, Moos. Sainton and Signor Bottesini, could not be othewise than gratifying to the audience. It would be a bold act to criticise the performances of the three last named eminent musicians, even if the critic felt "Himself equal to the task, and it will therefore suffice to say that the rendering of the pieces set down for them in the programme gave unbounded satisfaction to all present. In particular, may be mentioned the Fantasia on Scotch Airs, by M. Sainton, the pianoforte variations on "Life let us cherish" by Mad. Arabella Goddard, and the FanUuia on the double bass by Signor Bottesini, all of which were characterised by the well known and marvellous execution of their respective performers. The singing of Madame Cruveli, who possesses a clear and powerful voice, was loudly applauded, and she complied with more than one demand for a repetition. Mr. Swift, too, has a powerful tenor voice, and sang with great animation. Altogether, the concerts were a great treat.

On Monday last, Mr. Ricardi Linter gave a pianoforte "recital" at his house. There was a numerous and fashionable attendance. The programme was good, the classical music not being so disproportionate to that of a lighter description, as is generally the case. The Andante in F, of Beethoven, and the Prelude and Fugue in E minor, of Mendelssohn, were beautifully rendered. Mr. Linter also played four of his own compositions, which afforded considerable gratification, particularly the fantasias on Norma and Martha: also two by M. Thalberg, viz. Home Sweet Home and Don Pasquale.Ckeltcnltam Timet.

Musical Society Of London.—The band for the ensuing series of concerts (under the direction of Mr. Alfred Mellon) will comprise eighty-eight performers -.—First Violins— Mr. H. G. Blagrove and Mr. P. Sainton, (Principals); Messrs. J. Banister, J. T. Carrodus, R..

Clementi, J. B. Dando, Carl Goffrie, H. Weist Hill, — Jacquin, F. W. Kreutzer, Adolphe Pollitzer, Louis Ries, E. W. Thomas, Max Vogel, J. T. Willy, J. B. Zerbini.—Second Violins—Messrs. William Watson, (Principal), S. Bort, A. Burnett, J. J. Calkin, E. T. Chipp, Mus. Doc. Cantab., C. Colchester, F. R. Folkes, J. M. Marshall, J. Newsham, Edward Payton, Edward Perry, Alexander Simmonds, Alfred SW-eather, Heddegham Van, Thomas Watson, Henry Wheatley, Jun.—Violas— Mr. R. Blagrove and Mr. W. H. Webb, (Principals), Messrs. Georgo Alsept, J. Brodelet, —Glanvill, R. Hann, H. J. Trust, W. W. Waud, T. Westrop.—Violoncellos—Messrs. George Collins, (Principal), W. H. Aylward, Horatio Chipp, Hugo Daubert, H. W: Goodban, Alfred Guest, Charles Ould, G. Paque, Walter Pettit, R. H. Reed.—Double Basses—Messrs. James Howell (Principal), William Castell, Thomas Edgar, Arthur Howell, John Reynolds, Charles Severn, Joseph Waud, A. C. White, A Winterbottom.—*7tde»—Messrs. R. S. Pratten, R. S, Rockstro. — Piccolo — Mr. J. Schmidt.— Oboes—Messrs. A. R . M. Barret, Alfred Nicholson.—Clarionets—Messrs. Henry Lazarus, F. H. Maycock.—Bassoons—Messrs. F. Ilausser, J. G. Waetzig.— Horns—Messrs. Charles Harper, J. W. Standen, T. E. Mann, R.

Keevil Trumpets—Messrs. Thomas Harper, R. J. Ward.— Trombones

—Messrs. J. Hawkes,—Antoine, W. Winterbottom.—Ophicleidc—Mr. 8. Hughes.—Cornets—Messrs. Stanton Jones. F. J. Sutton.—Drum--Mr. C. F. Horton.—Bass Drum and Cymbals—Mr. R. W. Seymour.—Side Drum— Mr. Pheasant.— Triangle—Mr. Horton.—Harps—Messrs. Edward Perry, H J. Trust. Librarian and Copyist /or the Orchestra, Mr. C. F. Horton.

The Musical Society Of London.—The second trial of new Chamber Compositions took place at the Marylebone Institution, on Wedneday Evening, when the following works were tried:—Quartet, The Life of a Musician, in E flat, two violins, viola and violoncello, (1. Allegro—"The Start—Perseverance and Progress." 2. Vivace —" Anxiety." 3. Andante—" Hope." 4. Finale—" Disappointment and Despair—Ultimate Success and thanksgiving "—composed by H. F. Schroeder, and performed by Messrs. Louis Ries, Carrodus, Webb, and Lidel; Quartet in G, two violins, viola, and violoncello, composed by James Lea Summers, and performed by Messrs. Carrodus, Louis Ries, Webb, and Lidel; Quartet in E, pianoforte, violin, viola, and violoncello, composed by Oliver May, and performed by Messrs Oliver May, Louis Ries, Webb, and Lidel; Quartet in D, two violins, viola, and violoncello, composed by Miss Alice Mary Smith, and performed by Messrs. Carrodus, Louis Ries, Webb, and Lidel; Quartet in G minor, two violins, viola, and violoncello, composed by Henry Bavmer, and performed by Messrs. Louis Ries, Carrodus, Webb, and Lidel. Mr. Oliver May is a fellow of the Society; the others are all associates.

Bath.(From a Correspondent).—Mr. H Simms gave a concert at the Assembly Rooms on Saturday (Oct. 25) the members of the "Land" touring party being the attraction. The programme was of unusual excellence and variety. Such instrumental talent as that of Madame Arabella Goddard, M. Sainton and Signor Bottesini, could not easily be surpassed; while the vocal force, comprising Madame, Gassier, Mdlle. Marie Cruvelli, Mr. Swift, and Herr Joseph Hermanns, (Mr. Land conductor) was by no means to be despised. The grea.t performance of the Concert was Woelfl's pianoforte Sonata ffe plus ultra, by Madame Arabella Goddard, whose incomparable execution of this most difficult work created a profound sensation. I need not describe to your readers the characteristics of her performance; all who are in the habit of frequenting the Monday Popular Concerts— which means all musical London—must be familiar with them. Enough that Madame Goddard played to perfection and was recalled with enthusiasm. Many would fain have had the variations on "Life lei us Cherish" repeated; but Madame Goddard merely bowed hep acknowledgments. In Ascher's fantasia on Lurline, however, the demand for a repetition was so vehement, that she oould not choose but comply, and accordingly, after some slight demur, she reseated herself at the piano and played Stephen Heller's " improvisation" on Mendelssohn's " On Song's bright Pinions," which delighted the audience in even a larger measure. The other performance of Madame Goddard was in Mozart's Sonata in B flat, for piano and violin, with M. Sainton, a splendid exhibition on the part of pianist and violinist. M< Sainton was also heard in his own capital fantasia on " Scotch airs,'1 and in a, duet for violin and contrabasso with Signor Bottcshij, both, of which were loudly applauded. The solo on the contra-hasaa, on airs from Lucia, by the great Italian virtuoso, was a truly surprising display, and created unbounded astonishment. Of the vocal performance I can only say that Madame Gassier sang with brilliancy a Scena by one, Chiaromonte, and a rondo with variations from Vaccaj's Pietro il Grande } that Mdlle. Marie Cruvelli was highly effective in the aria, " O Mio Fernando," (La Favoritd); that Mr. Swift was thoroughly energetic in the song from Maritana " Yes, let mo like a Soldier fall;" and tha.i Herr Hermanns showed a good deal of humour in the song of Falstaff from Nicolai's Merry Wives of Windsor. Mr. Land oonducted and, joined in some of the concerted pieces, proving himself equally efficient as singer and conductor, 1. P. 8.

Mdlle. Patti h»8 finished her tour in the provinces, and has left for Paris, where she will make her first appearance (at the Theatre Italien) next Monday. That ingenious and fanciful critic, M. Escudier, informs his readers that "les jeunes gens de Londres" have organised special trains and hired a special steamer to take them to Paris in the train of Mdlle. Patti. They are to pay five pounds each for the journey, going and coming, and they are to remain five days in Paris. Why not add that each is to throw five bouquets to Mdlle. Patti, that they have sworn to call her five times before the curtain after each act, and that it is expected they will all lose their five senses before their return. —Illustrated Times.

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105. Introduction

11. Rondo, " I'm a model page." Contralto
19. Trio, " Welcome, welcome." Contralto and two 1

13. Grand Scena, " O rank thou hast thy shackles." Soprano 13a. Air from Scena, " Now, 'tis not a vision. Soprano

14. Duet, " As in a dream I wander." Soprano and Tenor

15. Finale, " We are glad to see" (Complete)

•15a. Part Song, " Corln for Cleora dying" _


16. Introduction and Air, " I have brought my c _

17. Ballad, " Those withered flowers." Soprano ...

18. Duo, " To the secret.*' Soprano and Tenor

19. Ballad, " Lovely, loving, and t lta. Ballad (Transposed)

20. Sestetto,11 In mystery shrouded"


21. Reclt. and Air, *'Night, love, is creeping." Tenor... 21a. Air (Transposed)

22. Duet, "Hear me, I must speak." Soprano and Tenor

23. Finale, " All to the ball"

Separate Vocal Parti art publithed.

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Soprano, Contralto, Tenor, and three

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Trekell (J. Theodore), Fantasia

"Lovely, loving, and beloved"

"Night, love, is creeping"

Quadrille, " Love's Triumph," arranged by C. Coote (Illustrated)
Valse, ditto ditto (Illustrated)

Galop, ditto ditto (Illustrated)

The Page Polka, ditto ditto (Illustrated)

Grand Selection for Military Band, by C. Godfrey, Senr

Other Arrangements in the Press. ADDISON AND LUCAS, 210 REGENT STREET, W.

BALFE'S NEW SONG-, "KILLARNEY." The Poetry by Enxrxn Falconer, Esq. Song by Miss Anna Whltty upward! of 300 nights at the Royal Lyceum Theatre, in the "Lakes of KUlarney," and him being sung by the same distinguished vocalist every night at the Theatre Horsl, Manchester, is published, price 3s., by Duncan Davison A Co., 244 Regent Street.


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The Lily of the Thames
"What Next Quadrilles" (Robin's Last), with cornet accompaniment
"The Spirit Rapping Polka," dedicated to all spirit-rappers' mediums
"The Llewellyn Waltz," dedicated to Mr. Blackwell, B.M. 3rd R.W.M.

London: Dcncax Davison A Co., 244 Regent Street, W.

Publithed thit day,



"GOOD MORROW, LOVE, GOOD MORROW." (Poetry by Thom 1607.) M.

•• THE MESSAGE." (Poetry by Miss A. Procter.) 3s.

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

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1 Thirteen Songs, by M. W. Balfe.

2 Ten Songs, by the Hon. Mrs. Norton.

3 Ten Songs, by Wallace.

4 Ten Songs, by Mozart, with Italianand English words.

6 Twelve Sacred Songs, by John Barnctt,.Georgc Barker, the Hon. Mrs. Norton, Charles Glover, Ac.

6 Twelve Songs, by Handel. Edited by O. A. Macfarren.

t Ten Sets of Qiadrilles, by Charles D'Albort, Ac.

8 Forty I'olkas, by Charles D'Albert, Jullien, Kcenlg, Ac.

9 Fifty Verses, by D'Albcrt, Gugn'l, Lanner, Strauss, Labitlky, Ac.

10 Nine Pianoforte Pieces, by Brlnley Richards.

11 Six Pianoforte Pieces, by Wallace.

12 Beethoven's Sonatas. Edited by Charles Halls' (No. 1). Containing Sonatas

Nos. 1 and 2 of Op. 2, complete.

13 Twelve Popular Duets for Soprano and Contralto Voices.

14 Ten Songs, by Schubert.

15 Eighteen of Moore's Irish Melodies.

16 Twelve Sacred Ducts.

17 Nine Pianoforte Pieces, by Osborne and Lindahl.

18 Twelve Songs bv Verdi and Flotow.

19 Favourite Airs from the Messiah. Arranged for the Pianoforte.

20 Beethoven's Sonatas. Edited by Charles HalUS (No 2). Containing Sonatas

No. 3 of Op. 2. and Sonata Op. 7, complete.

21 Nine Pianoforte Pieces, by Ascher and Goria.

22 Twenty-one Christy and Buckley Minstrel Melodies.

23 Twenty-five Juvenile Pieces for the Pianoforte.

24 Thirteen Popular Songs, by the most popular Composers. 26 Sims Reeves Popular Songs.

26 D'Albert's Galops, Mazurkas, Ac.

27 Five Sets of Quadrilles as Duets, by Charles D'Albert.

28 Beethoven Sonatas. Edited by Charles Halle1 (No. 3). Containing the Sonatas

Nos. 1 and 2 of Op. 10.

29 Ten Contralto Songs, by Mrs. Arkwright, Hon. Mrs. Norton, Ac.

30 Beethoven Sonatas. Edited by Charles Halle1 (No. 4). Containing the Sonata

No. 3 of Op. 10, and the Sonata Path<Stique.

31 Beethoven's Sonatas. Edited by Charles Halls (No. t). Containing Sonatas Nos.

1 and 2 of Op. 14.

32 Beethoven's Sonatas. Edited by Charles Halle (No. 6). Containing Sonata Op.

22, and Sonata Op. 26, with the celebrated Funeral March.

33 Juvenile Vocal Album, containing Songs, Duets and Trios.

34 Christmas Album of Dance Music, consisting of Quadrilles, Valses, Polkas, and


36 Vocal Christy Minstrel Album. A New Selection.

36 Christy Minstrel Album, for Pianoforte alone.

37 Standard Dance Music, comprising 72 Country Dances, Hornpipes, Reels, Jigs, Ac.

38 Fashionable Dance Book, consisting of Quadrilles, Valses, Polkas, Galops,

Schottisches, Ac.

39 Christy Minstrel Song Book. A New Selection.

40 Valses by D'Albert and other eminent Composers.

41 Fifty Operatic Airs for the Pianoforte.

42 One Hundred Irish Melodies for the Pianoforte.

43 One Hundred Scotch Melodies for the Pianoforte.

The whole of the songi are printed with Pianoforte Accompaniment!.


In Volumes, beautifully bound in various coloured cloth, with gold
letters, borders, and gilt edges. Price is. each,

CHAPPELL'S ENGLISH BALLAD ALBUM; containing 36 Song* by Balfe. Wallace, Barker, Glover, Linley, Lover, and other Popular Composers, all with Pianoforte Accompaniments. Price M., bound with gilt edges.

CHAPPELL'S ALBUM DE DANSE for the Pianoforte; containing 10 Sets of Quadrilles. 50 Valses, 40 Polkas, chiefly by Charles D'Albert. Price, M., bound with gilt edges.

CHAPPELL'S SECOND ALBUM DE DANSE for the Pianoforte; containing Quadrilles, Valses, Polkas, Galops, Schottisches, Varsovlanas, Polka-Mazurka, ltcdowas, And French Country Dances, by Charles D'Albert, Ac. Price 4s., bound with gilt edges.

*»* The Two Albums de Danse comprise a complete collection of all music requisite to the Ballroom.

CHAPPELL'S CHIUSTY MINSTREL ALBUM; containing 62 Songs, with Choruses and Pianoforte Accompaniments, including "I'm leaving thee in sorrow, Annie," '* Friends of my youth, ** I'm returning to thee, Annie," " Rosaline," Ac. Price M., bound, with gilt edges.

CHAPPELL'S SACRED VOCAL ALBUM* contains 36 Songs and Duets, by Handel, Harnett, Glover, the Hon. Mrs. Norton, Smart, Abt, Moore, Marcello, Ac. Price M., bound, with gilt edges.

CHAPPELL'S ITALIAN SONG BOOK; containing 32 Italianand German Songs, by Verdi, Mozart, Flotow, Schubert, Ac., all with English as well as tha original Words and Pianoforte Accompaniments. Price M., bound with gilt edges.

London: CHAPPELL & CO., 49 & 50, NEW BOND STREET W.

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