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after its performance on the organ at one of the Birmingham Festivals!

Now, seeing that you cannot know whether the Tilney variations (undoubtedly clever) are not equal to the Chipp ones, why do you blame the one and praise the other for the same act of commission?

I beg to send you by this post a copy of Chipp's "Ilarmonious Blacksmith," for your inspection and digestion.

Respectfully yours,

LfiEDSEB.

Leeds, Nov. 29, 1860.

Qln a certain reign, which need not be specified, several of the clans of Scotland seemed to expect with impatience the arrival of the Chevalier, who was known to have been at Bar-le-Duc. These several of the clans of Scotland were in hopes, when the Chevalier should have arrived in their part of the kingdom, of ravaging the estates of gentlemen, remarkable for their zeal to the House of Hanover. The members for that part of Britain did not dissemble their fears on this occasion, Cold air in the extreme is almost as bad as hot. Mundus alter et idem. W. Spark, you're wanted.—Petipace.]

CHURCH PSALMODY IN THE 19th CENTURY.

Sm,—The tune before the sermon here on Sunday last was "Rousseau's Dream " to a funeral psalm!! What next?

Mr. Charles Horsley in the admirable preface to his Eightyfour Church Tunes (an excellent work), says:—

"Whatever talent the author of this composition possessed, one of the last of accusations that can be brought ngainst him was any belief in, or respect for, the doctrines of Christianity ; ami, though I have no proof of my assertion, I have not the slightest doubt that this tunc, bad in melody and worse in harmony, has already been put to the Tprofanest use that can disgrace any community; and yet it is fouud introduced into the service of the Church I"

"Rousseau's Dream" to a funeral psalm at the church of a fashionable watering-place in the nineteenth century !! 1 What next? I am, Sir, your obedient servant,

Thomas Lloxd Fowee, Mus. Doc. M.A.

8, Steyne, Bognor, Nov. 26, 1860.

[" Rousseau's Dream" was not Rousseau's dream, but a waking thought of another musicaster. Agent, patient; speculative, practick; habit, act; simple, compound: these are the common divisions of the understanding. Synteresis dicta-nun rationisConscience, is another matter, as both Horsley and Fowle should know. "Apostatare facit cor" —said a wise man. But he was alluding to another matter. —petipace.]

Hebr Momqtte And The Norwich Festival.—The 50 guineas presented to Herr Molique by the committee of the Norwich Festival, as remuneration for his successful oratorio of Abraham, has been returned by the composer, with a request that that sum should be appropriated to charities.

Mb. Waltkb Lacy.—" This gentleman's Don Salluste, in the play of liny Bias," says the London lleview, "is as perfect a piece of stage representation of the cold-blooded, self-possessed demon of the scene, as the imagination of the spectator, wrought up to the highest pitch by the vivid portraiture of Victor Hugo, can conceive. The rigid muscle, the fixed eye, the calm hollow voice, the imperturbable stony face, and the withering sneer, embodied all the salient points of tl>e fiend, who plots a scheme of vengeance, distinguished amongst dramatic scenes for its heartless atrocity. Mr. Lacy never for a moment loses sight of his object, his soul is in it, you see it in the turn of his eye—the curl of his lip—the movement of his hands, and in that pitiless voice which runs to the heart like a bolt of ice.''

LONDON TONIC SOL-FA.

The London Tonic Sol-Fa Choir gave a concert at St. James's Hall, on Tuesday night, which attracted a large audience, chiefly made up, it is reasonable to believe, of the friends and relations of {he pupils. The principles upon which the Tonic Sol-Fa system of instruction is based, and the aim and hopes of its abettors, must be tolerably familiar to our musical readers. What it comprises of tangible and possible, has been dwelt upon; in what respect it must be looked upon as restricted, and in a certain sense Utopian, has been pointed out. A new musical language for general application is neither necessary nor practicable. We cannot begin reprinting in strange characters all that has been produced which is worth preserving, and even the disciples of the Tonic Sol-Fa, if they are desirous of becoming acquainted with the existing treasures of art, must make themselves proficients in the established system of notation, which to judge from their announcements, is tacitly admitted by themselves. If, however, it be true, as is stated, that no less than 150,000 pupils, under the guidance of some 700 teachers, in various parts of Great Britain, are receiving instructions in singing on the Tonic Sol-Fa system, the fact that a vast number of persons are usefully employed, whose leisure time might be devoted to much less worthy purposes, is beyond dispute. All such associations deserve encouragement, their moral iniluence being as highly beneficial as their practical tendency is healthy and civilising.

The London choir, under the direction of Mr. W. S. Young, forms only a small contingent of the general body of Tonic Sol-Fa-ists, and is probably not the most striking example of its average degree of cultivation. Several, of the compositions introduced in Tuesday night's programme were by no means well given, the intonation being unsatisfactory, the delivery of the voices abrupt and inharmonious, and nothing distinguishing the performance from ordinary exhibitions but a sort of dry mechanical precision seldom obtained, moreover, until after the first start, which was invariably more or less unsteady. In other pieces these deficiencies were less apparent, in some scarcely at all; and this goes far to prove that they might, with proper care, be speedily and altogether amended. The selection was as follows: —

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PART H.

"Call John"

"Greeting" .... Meyerbeer.

"Return of spring "... Kalliwoda.

"O hills, O vales of pleasure" . Mendelssohn.

"Sec the chariot at haud" . . Horsley.

"The blue bells of Scotland" . Arranged by A Ncithardu

"Life's pleasant sail" . . . From the German Music Hall.

"Good news from home" . P. S. Gilmore.

"From Oberon iu Fairyland" . Stevens.

"Now pray wc for our country" . Eliza Flower.

Several things included in the above were radically unsuited to the object in view. To cite one remarkable instance, the chorus entitled "Greeting" involved a display of questionable taste on the part of the concoctors no less than of questionable execution on that of the singers. The name of Meyerbeer is attached to this piece, which is nothing better than a mutilated abridgment of the opening chorus in Robert le Diable, presented, too, iu such a manner as virtually to strip it of its harmonious beauty. Such practices are, to say the least, reprehensible; and it is to be hoped that "Greeting" is not to be looked upon as a fair specimen of the contents of the Tonic Sol-Fa Reporter, to the fourth volume of which, ns the book of the words informs us, it belongs. The effusion which bears the name of "Call John" (Part II.), extracted from the same compilation, was perhaps intended as a satire on that portion of the musical community which has hitherto failed to discover the peculiar merits of the Tonic Sol-Fa method of vocal instruction. "Chorus" may stand for the majority of amateurs; "John" for their would-be enlighteners : —

(Chorus) Call John I John! John I

Louder, louder, louder,

Johnl Johnl John!
(John) "Weill well ! what d'ye want of John 1
(Chorus) Oh John I oil John! can you tell us?
(John) Tell you what?
(Chorus) Oh John! Oh John! Oh John!

John! John! John! Canyon tell us?
(John) Tell you what?
(Chorus) Tell us how? (John) How to what?
(Chorus) How to sing? (John) Sing what?
(Chorus) This song

(John) How to sing this song? Yes, yes.

Fah, me, ray, do, me, ray, do
(Chorus) No, no, no. (John) Soh, me, do, ray;
(Chorus) No, no, no. (John) Soh, /ah, me, ray, do, me,
ray, do.

(Chorus) No, no, no. (John) Soh, me, do, ray, me, my, do.
(Chorus) No, no, no, Johnny! Johnny! Can you tell us,

Tell us how to sing this song?
(John) No, no, no, never will I teach you how to sing.
(Chorus) Ha! ha! ha I ha! John! John! we've learn'd
this song.

(John) No, no, such a set of blunderheads
"Will never learu to sing.

Nevertheless, if teachers of the new system were not more explicit than " John," the world might for ever remain in darkness on this particular subject. Happily, to all accounts they are, and "Pah, me, ray, do," &c, shuffled up no matter how many times, does not represent the whole of their professional stock in trade. "Call John," though in no respect a composition distinguished for beauty, in a strictly musical sense, was declaimed (sung would be hardly the word) with remarkable vigour, and welcomed with clamorous enthusiasm. The audience seemed as though they could never tire of it. Whether this hearty reception of a piece so entirely unmeritorious, and (with deference) so vulgar, is an incident upon which the promoters of the "Tonic Sol-Fa" may be felicitated may, we think, be open to doubt Far more gratifying to all who regard their very praiseworthy efforts from a serious point of view, and for legitimate reasons wish them success, must have been the smooth and correct delivery of Mendelssohn's part-song, " O hills, O vales of pleasure." Music such as this cannot fail to work good to whatever cause may invoke its co-operation, its simplicity being not more inviting than its feeling is poetical and genuine. Each successive rehearsal of so chaste and beautiful a piece is calculated to improve the taste and elevate the ideas of beginners, under whatever system their studies may be pursued; and they who have the direction of the Tonic Sol-Fa movement throughout the country—a movement which, according to the manner in which it is controlled, may be one of real importance, or, to say no worse, of comparative insignificance— should be anxious to include as much of the pure element in their course of instruction as expediency will allow, and as little of what is spurious, trivial or corrupt. Tuesday night's programme contained much that was good, but left as much to desire; conveying, moreover, in its general outline, no evidence of a clear and definite aim. How to sing should not be the whole and sole object in contemplation, what to sing involving, under the circumstances, a question of at least equal significance.— Times.

Burns' Cottage.—We understand that Mr. James Allan, butler to Sir Edward Hunter Blair of Blairquhan, is to become tenant of Burns' cottage, having been selected from a number of offerers by the Incorporation of Shoemakers, to whom the property belongs.—Ayrshire Express.

Monday Popular Concerts.—The third concert was in noway less attractive than its predecessors, and again, in spite of a drenching and incessant rain, was the cheerful large hall filled by an audience bent upon enjoying another of those excellent programmes which the directors know so well how to provide. Of the four instrumental pieces by Beethoven (to whose compositions the instrumental part of the programme was confined), three were heard here for the first time, showing that the management fully intends carrying out the promise made in the inaugurative address of " varying the entertainments ns much as practicable, and frequently presenting new selections." The exception to the novelties was the quartet in C minor ("No. 4, Op. 18), first introduced by M. Wieniawski, Herr Ries, M. Schreurs, and Signor Piatti, on March the 21 st, 1859, and now repeated by desire. In parts suggestive of Mozart, yet stamped throughout with the individuality of Beethoven, it would he difficult to find in the whole range of its author's works a more charming composition, or one more likely to grow upon the hearer at each repetition. That it was rendered to'admiration by MM. Sainton, Ries, Schreurs, and Piatti, we need hardly say, nor that it commanded breathless attention and the heartiest applause. The grand sonata in E flat (Op. 7) for pianoforte solus (dedicated to the Countess Keglevics) created the liveliest sensation. Mr. Charles Halle's reading and execution of this fine work were alike masterly, and it is worth noting that he. played the whole from memory. Herr Von Lenz, the rhapsodical panegyrist of Beethoven, finds no praise too lavish, no simile too extravagant, in speaking of this sonata; but listening attentively from beginning to end we failed to realise either the "gerbes de feu " in the allegro, the "tear dropped from the eye of a Magdalen in the vale of sorrow" in the largo, or the "joyous company on the greensward,'' &c,, in the scherzo; far less the "child tormenting the may-bug, and not desisting until he has torn off its last leg, in the minor episode of the rondo Jinale. Fortunately the position of Beethoven is too surely established to be shaken; but had he been an ordinary composer we should have trembled for his reputation. The analyses of Herr Lenz are too frothy to inflict much injury. In the sonata in F major (No. 1, Op. 5) for pianoforte and violoncello, Mr. Charles Halle' enjoyed the co-operation of Signor Piatti, and with two such artists the performance, as may be imagined, was irreproachable. The sonata (in two movements, only—Tike that of Mozart for violin and piano, introduced last week) will doubtless be repeated. The grand trio (G major, No 2, Op. 1), in which the last-named gentlemen were joined by M. Sainton, although coming at the end of the programme, gave as much delight as any of the pieces that preceded it. Miss Gerard's nervousness interfered with her success in a very charming song from Mr. Macfarren's King Charles II., "Can'st thou deem my heart is changing?" and Beethoven's lovely air, "Know'st thou the land?" Mr. Santley sang Benedict's "Portrait-song" from The Oipsy's Warning, and the song of Figaro in the last act of Le Nozze, " Aprite un no quegli occhi," both with ndmirable effect. The selection from Spohr, Dussek, and Weber, which afforded so much satisfaction on the opening night, will be repeated by general desire on Monday, with the same artists. Mr. Benedict was the accompanist.—Dodinas.

The Festivals Op The Three Cnoins.—A final winding up of the accounts of our late Festival has now taken place, the Bov. R. Sar* jeant, Hon. Sec., having this week received from the Earl of Coventry, who, it will be remembered, was prevented attending the Festival owing to absence from the county, the munificent donation of 100/. to be added to the liberal sum already subscribed for the charity. The total amount thus received, therefore, is 1,314/. 8s. Id., which exceeds the amount realised for the charity at the Worcester Festival of 1857 by no less than 281/. 1Is. Id., besides the surplus of profit (65/. 5c. 4d.), which will be invested as already explained in the columns of the Journal. The largest collection ever made at these festivals, prior to 1860, was made at Gloucester last year, when 1,143/ 3s. Od. was received, but the Worcester collection this year exceeds that amount by no less than 171/. 5«. Id. We are glad to notice that already, before the last sounds of the Worcester Festival have well died out, the indefatigable conductor at Hereford—Mr. G. Townshend Smith—is exerting himself to moke the next gathering of tho Three Choirs, which will take place in that city in the autumn of 1861, at least as successful as those which have preceded it there. We announced at the close of our late festival that he had already obtained a good list of stewards for the next meeting, and the following are the names of noblemen and gentlemen who have expressed their willingness to act in that capacity :—Lord William Graham, M.P.j Hon. J. F. T. W. Fiennes; Hon. C. S. B. Hanbnry. M.P.; Sir Wm. Curtis, Bart. (2nd time); J. King, King, Esq., M.P.j H. Mildmny, Esq., M.P.i Col. Clifford, M.P.; B. Botfield, Esq., M.P.; S. Allaway, Esq., (2nd time); J. H. Arkwright, Esq. (3rd time); Rev. G. Arkwright; Kev. J. Bullock (2nd time); Bev. T. H. Bird; T. Dew, Esq.; W.Brewster, Evans, Esq.; Bev. E. Hampden; Rev. E. B. Hawkshaw; T. Hill, Esq.; Bev. H. C. Key; A. B. B. Knight, Esq. (2nd time); Bev. Prebendary Lee; Rev. W. B. Mynors; Bev. Prebendary Poole; R. Webb, Esq.; Rev. H. O. Wilson. These gentlemen stipulate that their individual pecuniary responsibility shall not exceed 25/.; but there is no reason why they shonld be mulcted so heavily, if the inhabitants of the county will only come forward in a commendable spirit and support the proposition which has been started for providing a guarantee fund, as has been done at Worcester on former occasions, when the Worcester Festivals were less prosperous than they have been of late years. A beginning in this way has been made, and at a meeting held at Hereford, on Wednesday, a 250/. was put down as subscriptions to the fund. — Worcester Journal.

Scarborough.—Now that the season is drawing to a close, we are but fulfilling a duty to Mr. W. Williams, conductor of the Spa band, in congratulating him on the able and satisfactory manner in which he has discharged his duties, and the manner in which music of the higher order (together with the lighter music of the day), has been rendered Praise is no less due to Mr. Smith, the general manager, for the energy and taste he has displayed in catering for the amusement of the public during this (his first) season. A further prolongation of the musical engagements at the Spa, we have no doubt, would form an important aid in bringing about the much-needed extension of the season at Searborough.—Scarborough Gazette.

ST. JAMES'S HALL,

(revert Strut And Piccadilly.)

MONDAY . POPULAR CONCERTS.

THE FOURTH CONCERT OF THE THIRD SEASON

Will take place

On MONDAY EVENING, DECEMBER 3, 1860,

When the Selection exclusively selected from the Worki of

SPOHR, DUSSEK, AND WEBER.

Which wai receired with so much favour at the First Concert (November 12th) will be repeated, by general desire.

PROGRAMME.

Part I.—Quartet, in G minor, two Violins, Viola, and Violoncello (Spohr), Herr Bicker, Herr Ries, Herr Schrbtjrs and Signor Piatti. Song, " Rose softly blooming " (Spohr), Miss Augusta Thomson. Canzonet, " Name the glad day " (Duseek), Mad. Lemmbns-sherrihgton.) Sonata, in C major, Op. 24, Pianoforte solus (Weber;, Mr. Charles Halle.

Part II.—Sonata, in B flat, Op. 69, Pianoforte and Violin (DuisekY, Herr Becker and Mr. Charles Halle. Song, " If a youth should meet a maiden," Der Freischutz (Weber), Miss Augufta Thomson. Romance, "The clouds by tempests may be driven," Der Freischutz (Weber), Mad. Lemmens-sherrimgton. Duet, " Come be gay," Der Freischtitz (Weber), Mad. Llmmens-sherrinqton and Miss Augusta Thomson. Quartet, in B flat, Pianoforte, Violin, Viola, and Violoncello (Weber), Mr. Charles Halls, Herr Becker, Herr Schrelrs, and Signor Piatti.

Conductor—Ma. BENEDICT.

Stalls, 5s.; balcony, 3s.; unreserved seats, Is. Tickets to be had of Mr. Austin, at the Hall, 28, Piccadilly j and the principal music publishers.

HER MAJESTY'S THEATRE.—The Last Six Nights or Tttlens and Ciujrtini. This Evening (Saturday) December 1, for the last night but three, ROBIN HOOD. Positive re-appearancc of Sims Rreveb, supported by SA»Tir- "—" In active:

by Santlby, Patey Parkinson, Bartleman. Lemairr, and Lfmmens-sherringt<
In active preparation, a new opera, entitled QUEEN TOPAZE, in which Mile.
Parepa, Mile. Allesandri, Mr. Santlby, Mr. Pai By, and Mr. Swift will appear.
Commence at 8 o'clock each evening. Reduced prices. .

THEATRE ROYAL, DRURY LANE —Lessee, Mr. E. T. SMITH Last Two Performances before Christmas.—THIS EVENING

(Saturday), Dec. 1, Her Majesty's Servants will perform FORTY AND FIFTY After which the new comedy, THE ADVENTURES OF A BILLET DOUX, In which Mr. and Mrs. Charles Mati-ews will appear. To conclude with Sheridan's CRITIC; or, A Tragedy Rehearsej. Sir Fretful Plagiary and Puff, Mr. Charles Mathews; Don Whlskerandos, Mr. R. RoXBY; Tilburlna. Miss E. Aroen. Doors open at half-past 6; commence at 7. Box-office open from 10 till & o'clock dally.

Notice.

The Musical World may be obtained direct from the Office, 28 Holies Street, by quarterly subscription of Five Shillings, payable in advance; or by order of any Newsvendor. Advertisements are received until Three o'clock on Friday Afternoon, and must be paid for when delivered.

f Three lines (about 30 words) 2*. Cd.

turns yEvery additional line (10 words) ... Gd.

% Pustcal Wiaxh.

LONDON: SATURDAY, DECEMBER I, 1860.

THE general meeting of the Philharmonic Society (annually held in November) has taken place, and resolutions have been adopted which are calculated to satisfy every true friend of the institution. If the Philharmonic is not exactly in the position of Ajax defying the lightning, it at least disdains to emulate the self-denying reticence of Bede the younger. Brother Gye must look up a Dinah on his own account; at Hanover Square he will search in vain for a mildly relinquishing Seth. That accommodating "methody" finds no parallel in Pope Anderson, who seems to share the obstinacy, without the faint-heartedness, of Pius IX. His army shall be neither a French army, nor an army of mechanics, but an army of genuine Philharmonic troops, led on to victory by Generalissimo Sterndale Bennett.

We have reason to believe that no general meeting ever took place at which more unanimity was expressed than at the general meeting of the Philharmonic Society, on Monday week. The wave that threatened to annihilate the institution has not quite overwhelmed it. That is clear from the result. Not foolhardy enough to endeavour to breast it, and thus be carried away, the members prudently "ducked," and allowed it to pass over their heads. They have got soaked a little, it is true, but nothing worse.

If report lies not, the Covent Garden people are beginning to hesitate. The Philharmonic Concerts will not do in Floral Hall. Mr. Alfred Mellon is aware of that Nevertheless, the Philharmonic Concerts must go on; and the mere notion of their being swamped by a conspiracy has enlisted a world of sympathy in their behalf. The members know it well; strong faith within has encouraged them to pass strong measures; and they are likely rather to be gainers than losers by the crisis that, a month since, astonied them to a member.

One of the resolutions, carried nem. con., is extremely significative. Instead of six concerts, there are, in the forthcoming season, to be eight. The return to the old system will be hailed with delight by every amateur. Sixteen symphonies, as many overtures, and at least eight concertos (for pianoforte or violin) will form something more like a substantial Philharmonic budget than the restricted supply of recent years. Moreover, in reducing the number of their performances from eight to six, the Philharmonic Society had cried "Peccavi," when there was really no reason for any such confession. Another important and straightforward decision was adopted, which will probably confer an equal amount of gratification on the musical world. It was resolved unanimously that no change should be made in the nights of performance; that the timehonoured Mondays should be again consecrated to the classic muse of harmony; and that no proposition to the contrary, from whatever source, or on whatever pretext, should be entertained for one instant.

As Agrippa's dog (Cornelius, not Menenius) bad a devil all, what has Addison said against the Opera - an enter. tied to his collar, some think that Paracelsus (Theophrastus tainment which he certainly enjoyed, or he would not have atBombastes, &c.) bad one confined to bis sword pummel (or tended it so often, or have devoted so many excellent papers else that Erastus belied him. Others, it was once generally to it? The Spectator was written from day to day, and was believed, wore devils in their rings. But this is neither here certainly not intended for our entertainment; yet who can nor there, unless it be beside the question. Nihil intellectu fail to be amused at the description of the stage king "who quod non prius fuit in sensu. Notions are twofold-actions spoke in Italian, and his slaves answered him in English ;” or habits. « On ne se soucie pas(says Pascal), d'être and of the lover who “ frequently made his court and gained estimé dans les villes on ne fait que passer ; mais quand on the heart of his princess in a language which she did not y doit demeurer un peu de tems, on s'en soucie.“How | understand ?” What, too, in this style of humour, can be long a time is necessary ?"-asks of himself the French better than the notion of the audience “getting tired of unphilosopher. “Just so long” -- answers to himself the derstanding half the opera, and to ease themselves of the French philosopher-"as is proportioned to our durée vaine | trouble of thinking so ordering it that the whole opera is et chétive(our vain and feeble sojourn). The same propo- | performed in an unknown tongue;" or of the performers sition holds with salles de concerts as with “ villes." The who, for all the audience knew to the contrary, might be directors of the Philharmonic Society have been reading “ calling them names and abusing them among themselves ;" Pascal at the eleventh hour. “No one,”-says John Stuart or of the probable reflection of the future historian, that “in Mill—" can be a great thinker who does not recognise that, the beginning of the eighteenth century the Italian tongue as a thinker, it is his first duty to follow his intellect to was so well understood in England that operas were acted whatever conclusions it may lead.” The same holds with on the public stage in that language?" On the other hand, Philharmonic directors, who may or may not be great we have not, it is true, heard yet of any historian publishing thinkers, but who have followed the conclusion to which the remark suggested by Addison, probably because those their intellect led in the contemplation of an anticipated historians who go the opera_and who does not ?-are quite crisis. They have looked it boldly in the face, and out. aware that to understand an Italian opera it is not at all lived it!

necessary to have a knowledge of the Italian language. The Of the eight concerts, two will take place before Easter. Italian singers might abuse us at their ease, especially in Bravo! Professor Sterndale Bennett is re-appointed con concerted pieces and in grand finales; but they might, in ductor. Bravissimo! There is even a talk of two rehear the same way, and equally without fear of detection, abuse sals, instead of one only, for each concert. Better and their own countrymen. However, it is a great mistake to better, if this should turn out sooth. One rehearsal is no inquire too closely into the foundation on which a joke stands rehearsal ; and thus the first rehearsal and the performance when the joke itself is good ; and we are almost ashamed, as become too often synonyme.

it is, of having said so much on the subject of Addison's What follows involves grave matter for consideration. pleasantries, when the pleasantries spoke so well for them“ Any members of the orchestra," (we quote from memory selves. of hearsay) “who may find themselves,” (“ find themselves” The only portion of Addison's longest paper on the opera -good) “precluded by engagements made elsewhere," that can be treated in perfect seriousness is that which be(“made elsewhere”-not bad) “ from accepting the engage gins, “If the Italians have a genius for music above the ment offered by the Philharmonic Society for the Monday English, the English have a genius for performances of a evenings pre-specified, will, as a matter of, however disagree much higher nature, &c." Now we fancy the recent politiable (“however disagreeable- capital !), necessity, be re cal condition of Italy sufficiently proves that music could not placed by substitutes, appointed, not necessarily by them save a country from national degradation ; but neither had selves, but (necessarily) by the Philharmonic Directors.” painting nor an admirable poetic literature done so. It is

Finis coronat opus. Cæsar, Brutus, Metellus Cimber, also better, no doubt, that a man should learn his duty to and even Antony must ruminate before proceeding further God and to his neighbour than that he should cultivate harin this venture, adventure, or (to cite Sancho) “ misad-mony; but why not do both, and above all, why compare venture."

like with unlike ? Allow that the “ performances of a much higher nature," than music exist; at least they do not answer the same end ? If it could be shown that the

more general science on which that of astronomy rests was DDISON'S satirical articles on the Italian Opera, in the

a nobler study than music, it at the same time could not be A Spectator, would probably be liked, though not truly

maintained (except perhaps by the editor of the Scotsman) relished, by the editor of the Scotsman; for he would be

that there was anything consoling, or per se, elevating in quite unable to appreciate their admirable humour. By

mathematics ? Poetry, again, would by many persons be musicians, however, they are often spoken of as ill-natured

classed higher than music, though the effect of half poetry,

classed h and unjust, and are ascribed-somewhat unfairly, as it seems

of imaginative literature generally, is to place the reader in to usato the annoyance, it is supposed, Addison must have

a state of reverie, such as music induces more immediately felt at the failure of his opera of Rosamond, which had been and m

and more perfectly. The enjoyment of art-by which we set to music by the most ignorant and malicious impostor of

do not mean its production, or its critical examination, but his day.* This, however, is politely to assume what Addi.

the pure enjoyment of the artistic result-has nothing strictson’s life, as a whole, will not allow us to believe, that he

ly intellectual in it. No man could grow wise by looking never blamed except in revenge for some personal loss, or

at Raphael, or listening to Mozart. Neither does he derive praised except in the hope of some personal gain. And, after

any intellectual ideas from some of our most beautiful poems, * Clayton, who, afterwards supported by two other musicians named

but simply delight of an elevated kind, such as is given by Haym and Dieu part, proposed, under the auspices of Steele, to rescue

fine music. Music is evidently not didactic, and painting their art from the “barbarism, under an affectation of knowledge,” into can only teach in the ordinary sense of the word what every which it had fallen since the arrival of Handel in England !

one already knows; though of course a painter can depict

IPACE.

certain aspects of nature and of the human face, previously unobserved and unimagined, just as the composer in giving a musical expression to certain sentiments and passions can rouse in us emotions previously dormant, or at all .events, never experienced before with so much intensity. But the fine arts cannot communicate abstract truths—from which it chiefly follows, that no right-minded artist ever uses them with such an aim; though there is no saying that some wild enthusiast will not endeavour to express, and other enthusiasts equally wild pretend to see, in symphonies, whether of the past, the present, or the future, and in big symbolical pictures, such as the admirably-painted fresco by Kaulbach, on the walls of the Neue Museum at Berlin, which explains to every one (after he has read the long printed description of the work) that the fall of Babel and the destruction of Babylon meant and were precisely the fame thing.

But why, it will be said, should we argue about music with the editor of the Scotsman? Heaven preserve us from any suoh folly! We are merely publishing a few remarks for the perusal of our intelligent readers who may have been shocked by the barbarism of this Pict, and may wish to see him put to shame. It is a strange thing, nevertheless, that the editor of the Scotsman should not like music. Shakspeare had somewhat of a taste for it, and we all know what he says of the man who has "no music in his soul," and of the dark conspiracies and other political performances* for which he is fitted. Milton was passionately fond of mueic; and let the editor of the Scotsman ask Mr. David Masson whether the author of "Paradise Lost" did not address three Latin poems to Leonora Baroni singing at Rome— ad Leonoram Roma: canentem? Molierc's plays are full of allusions to music of such a nature, that they prove him to have had a practical acquaintance with the art. (Let the editor of the Scotsman consult on this subject "Moliere musicien," par C. Blaze,—price [we regret to say] 15 francs). Finally, Rabelais was not only a musician by taste, but was actually a fiddler and a singing-master. At all events, when violin playing was in its infancy in France, he understood what was in his time considered the wonderful art of shifting or demancher-ing the instrument.

"Panurge," he says, "ces mots achevez, jecta au milieu dti parquet une grosse bourse de cuir pleine ctescus au soleil. Au son de la bourse commencearent tons les chats fourrez jouer des gryphes, comme si feussent violons desmanchez." Pantagruel, Livre IV. Chapitrb 13. Rabelais is known moreover to have opened a singing-school at Meudon, which he himself directed.

The two greatest poets of England, the two greatest comic writers of France, loved music (it being tolerably certain that at least three out of the four practised it), and yet the editor of the Scotsman undervalues it and hates it! The thing passes belief.

We fancy what the editor of the Scotsman really objects to in music is, that he cannot get any solid, material advantage out of it." "You can't eat it, and you can't drink it, and you can't put it on your back," as a Caledonian manufacturer is said to have observed, when asked to set a value upon a certain picture. But the editor of the Scotsman can obtain real bodily profit out of sweet sounds, as out of

* Talking of " political performances" (of which the editor of the Scotsman declares musicians to be incapable) we are reminded that Farinelli, the organist, was minister at the Court of Spain—not as ambassador, but as minister of state. A sopranist in the cabinet 1 To what political position, then, might not a manly tenor or baritone of the present day aspire?

medicinal waters, if he only knows how to set about it. Let him study and derive what good he can from the following account of the wonderful curative powers of music, as given by that great musician, Rabelais :—

"Comment La Quinte Essence Gcarissoit Les Malades

Par Chansons. ***** Vous, en vostres royaulmes, avez quelques roys les quelz fantasticquement guarissent aVatdcunes maladies, comme scrophule, malsacre, fiebtres quarles, par seule apposition des mains, ceste nostre royne de toutes maladies guarit sans y toucher, seullement leur sonnant une chanson selon la competence du ma I. Puys nous monstra les orgues, desquelles sonnant, faisoit ses admirables guarisons. Scelles estoyent de fagon bien estrange. Car les tuyaulx estoyent de casse en canon, le sommier de gaiac, les marcheltes de rheubarbe, le suppled de ttirbith, le clavier de scammonie."

Lors que considerions ceste admirable et nouvelle structure oVorgues, par ses abslracteurs.... et aultres siens officiers, feurent les lepreux introduictz: elle leur sonna une chanson, je ne scay quelle, feurent soubdain et parfaictement guariz. Puys feurent introduictz les empoissonnez et les Escossois et gens debout. Puys les aveugtes, les sourds, les muetz, les resdacteurs apoplectiques, leur appliquant de mesme."

If the editor of the Scotsman can make nothing out of the above Rabelaisian anecdote, we recommend to his attention the following extract from the "Memoirs of Mademoiselle de Montpensier," which seems to show that the Scotchmen of the present day are a great deal too much like the Scotchmen of two hundred years since :—" Le Itoi (TAngieterre {Charles II.) vint me conduire jusqu'a mon logis par la galerie qui va du Louvre aux Tuileries; et U long du chemin il ne me parla que de la miserable vie qu'il avail mcnee en Ecosse; qu'il n'y avait pas une femmc; que les gens elaient si rustres, quits croyaient que e'etait un peche cTenlendre des violons." Djxadam.

TT is at length decided that the customary Festival of the J- Three Choirs will take place at Hereford next year, although at one time great fears were entertained that this important musical event would fall to the ground for want of sufficient funds. Thanks, however, to the energy and determination of the present chairman, J. H, Arkwright, Esq., of Hampton Court (chairman of the festival, by the way, for the third time), aided by the stewards—at the head of whom figure Lord William Graham, M.P., the Hon. J. F. T. W. Fiennes, Hon. C. S. B. Hanbury, M.P., and Sir William Curtis, Bart.—the triennial meeting is not merely determined upon, but is likely to prove an entire success. Twenty-six gentlemen have accepted office as stewards, oa condition that they are not to be responsible for a deficiencr beyond 650/. The Mayor of Hereford, B. Botfield, Esq", M.P., in compliance with a general wish, has added his name to the list of stewards; so that already a powerful prestige attaches to the forthcoming meeting, and nothing more is required than a Guarantee Fund, in case the loss should be greater than the sums for which the stewards have made themselves answerable, to make the prospects of the Festival in the highest degree promising. Through the exertions and untiring energies of Mr. Townshend Smith, Honorary Secretary, the subscriptions to the Guarantee Fund have already realised nearly 350/.; so that at this moment, even should no more additions be made to the list of subscribers, the stewards have only rendered themselves

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