6. BALLAD, The night is closing;' the words by BARRY CORNWALL; the music composed by S. W. KETTLE. (Kettle.)

THE very beautiful verses of Lord Byron have met with corresponding notes in the publication at the head of this list: a canzonet of so much beauty, in whatever way considered, is rarely indeed met with. The music is grave, for the words are serious; and the accompaniment is as full of meaning as the poetry is of thought. But this is not a saleable commodity; it will not be chosen off the counter; and unless it becomes known to those who have a feeling for what is really good in the art of which, in the ordinary way of publishing, there is little chance, without feeing some public singer-Mr. Thomson's reward will amount to a reimbursement of his expenses.

There is an elegant ease in both words and music of No. 2 that will recommend the ballad-for so we suppose it may be called, though the author has sent it forth into the world without any appellation. The melody is agreeable, and the accompaniment, in the bolero style, easy.

No. 3 is simple, easy, possesses a good deal of musical character, and is very likely to become popular.

No. 4 is a delightful specimen of Spanish music; for from the title we conclude that to Mr. Dessauer is to be ascribed the merit of arranging, not originating, the melody. It is stated to be an Andalusian Bolero, and its national features are as strongly marked as pleasing. The key is a minor; but this imparts no sadness to the air, which, on the contrary, is as full of gaiety as the words.

We seem just now to be in the region of bolero: No. 5 partakes much of its character. It is also meant, we presume, as an answer to Neükomm's Sea,'-the one extolling the briny billows, the other regarding them as little better than nuisances. The whole of this is pleasant, but not so new as it is otherwise faultless.

No. 6 indicates no mean ability: the words are well set, and the harmony is good.

HARP.

BOCHSA'S Mosaïque Musicale, containing Introduzione, Cantabile, Marcia, &c. &c. (Mori and Lavenu.)

A DISTINGUISHED personage like M. Bochsa is naturally grandiloquent. What we and other humble men would have called a Medley, he dignifies by the term Mosaïque Musicale. Thus, however, he may mislead such as are in the habit of diving deep for the meaning of words, who possibly will interpret this, music of square notes, and thence infer ancient church music; for, being able to trace no connexion between mosaic and music, they will suppose that the former is intended to signify tesselated, and that the term is transferred from stone and marble to square semibreves and minims. Perhaps by some such process of induction, but coming to a different conclusion, others may imagine the word to have a moral signification, and that acting on the square is thereby intimated. Be this as it may, the present is not the mosaïque musicale which we once, and once only, mustered up fortitude enough to sit through that was half an hour long; this, consisting of only sixteen pages, (price five shillings!) will not occupy above fifteen minutes. It is written for the purpose of displaying the author's 'new effects,' but the confusion of tongues, the crowd of strange marks, and the novel characters introduced, will, we should imagine, confine the sale to the composer's own pupils, to each of whom he doubtless will take it. If they are able to discover one new passage in the sixteen pages, they will do more than, with all our diligence, we have been able to accomplish.

WESTMINSTER FESTIVAL.

To the Editor of the Musical Library.

SIR, It was surmised by Addison that, in the estimation of singers, nonsense only is fit to be sung; and they seem to have been anxious not to lose this distinctive character of their race from that time to the present, It is only by reiterated exposures of those gross instances of attachment to absurdity, which are too often occurring, that the evil can be corrected.

Sometimes it is not chargeable altogether on the singers, who have not always an alternative; but at other times they discover a decided and sturdy preference for nonsense, which, to those who are not of the craft, seems perfectly unaccountable.

Future generations will look at Clementi's edition of The Creation with wonder; and it will require no ordinary stretch of credulity to induce them to believe, not only that such passages as the following were sung, but deliberately adhered to, and preferred to a version which embodied the phraseology of Milton. For instance :

'See, flashing through the wet, in thronged swarms,
The fry in thousand ways around.'

At the late Festival, Madame Caradori declined singing the version in the printed books, preferring the following,

To leafy vaults are spread the tufty groves;

The mountain's brow is crown'd with closed wood.

And Mrs. Knyvett, in the Duet Graceful Consort,' chose to salute her lord with these choice words (in what language it would be difficult to ascertain),

Spouse adored, life and all I am, all I am is thine.'

There is one word in the amended version of Neükomm's edition, which you think ought to have been exchanged for some other, viz., ' pens,'— 'On mighty pens the eagle wings her lofty flight through air sublime.' Perhaps it was retained because it is used by Milton in the passage whence the German translator deduced the words of this song:

'Feather'd soon and fledg'd, they sunn'd their pens;
And, soaring the air sublime,' &c.

I need not remind you, Sir, how common a practice it was with our divine bard to Anglicise a Latin word in strict accordance with its original sense. Another and similar instance occurs at the distance of a

few lines:

'Rising on swift pennons, tower the mid aërial sky.'

I think this authority sufficient to justify the retention of the word. I presume the individuals who selected the pieces for performance at the late Festival were ignorant of the meaning of those parts of the Mass which were (I cannot say chosen, but) wrenched from their connexion. It was not intended, I presume, to insult the head of our Protestant church -the Archbishop of Canterbury-and the Dean of the Abbey, by a hymn in defence of transubstantiation; but what excuse can be offered, save the plea of ignorance, for beginning detached and insulated pieces thus? –

Et incarnatus est,' &c. 'Quoniam tu solus sanctus,' &c.

'Qui tollis peccata mundi.'

These blunders deserve notice, inasmuch as they tend to countenance an opinion which bigots and fanatics are widely propagating,-that musicians, as a body, are utterly regardless of decency, propriety, and even common sense, in the words they sing. There is no need to put weapons in the hands of such persons; rather let everything that gives reasonable offence to any serious and reflecting mind be carefully excluded. The intellect and the affections should be addressed by such a performance, and not the ear alone; for the art, when exercised by men of understanding, has more influence than is generally supposed :'Such sweet compulsion doth in music lie, To keep unsteady Nature to her law, And the low world in measur'd motion draw After the heavenly tune, which none can hear, Of human mould, with gross unpurged ear.'

August 3rd, 1834.

BIRMINGHAM FESTIVAL.

A LOOKER.ON..

To the EDITOR of the Musical Library.

SIR,-Your polite but unflinching exposure of the inability of those who are responsible for some of the music selected for performance in Westminster Abbey, has won you the goodwill of numbers in this town and neighbourhood. We could only have believed on good authority, that a set of noblemen and gentlemen of rank would have sanctioned that which showed so little musical judgment, and-what is of infinitely more moment-so much disregard of the religious opinions prevalent in Great Britain.

The want of knowledge betrayed in the selections is lamentable enough, but as this has led to the preaching up, in a Protestant country, of an abominable doctrine of the Church of Rome, silence, which proverbially gives assent, would be criminal. In the name, then, of, I may say, hundreds of reflecting people in this county, I thank you for having called attention to the admission of this doctrine of transubstantiation, in what may be considered the chief church of the metropolisthe sacred edifice wherein our kings are anointed, and which the second branch of the legislature, the Peers, consider their own.

Some may exclaim This is a mere sing-song affair!' but I beg leave to remind such persons, that a very wise man once said, 'If I have the making of the songs of a country, I care not who makes the laws.'

Your remarks on the Hallelujah-chorus are convincing to every man of sense: I hope they will be in time to prevent such an error from spreading. We shall not, I trust, be guilty of any childishness of this kind at our next festival.

I am, Sir,

FOREIGN MUSICAL REPORT.

VIENNA.

DEMOISELLE MASCHINKA SCHNEIDER has made her appearance at the Kärnthnerthor Theater as Rosina, in Der Barbier, eliciting universal applause. Kapellmeister Pott, from Oldenburg, has been in Vienna, playing in public, on various occasions, on the violin.

BERLIN,

The performances of Madame Schroeder Devrient, at the Court Theatre, have been numerous of late: she has appeared as Statira, in Spontini's Olympia; as Julia, in Bellini's Montecchi und Capuleti; as Rebecca, in Marschner's Der Templer und die Jüdin; Donna Anna, in Don Juan; Isabella, in Robert der Teufel; and as Euryanthe. Her acting and singing was exquisite in all these characters, but the most enthusiastic applause was bestowed upon the last. At the Königsstädter Theater Madame de Méric continues her performances.

A concert has been given by M. G. Märtens, at which was played a very pleasing overture of his composition; and M. Albert Märtens displayed great execution on the violin.

M. Julius Rietz leaves Berlin for Düsseldorf, where he is appointed Music Director to the theatre.

LEIPZIG.

The recent performances at the theatre here have consisted of Euryanthe, Die Montecchi und Capuleti, Hans Heiling, and Robert der Teufel.

At the fourteenth and last concert of the Euterpe was played the overture to Die Braut von Messina of Fr. Schneider. On this occasion also were given, for the first time in public, the overture, and a hunting chorus and finale, from an opera by the music-director of this society, M. C. I. Müller, bearing the title Rübezahl, which, if this portion may justify an opinion, is likely to prove very successful. Beethoven's Sinfonia Eroica was also very effectively played. The solo performances were a polonaise of Jacobi for the bassoon, by M. Kretschmar; and a concertino of Karl Mayer for the trombone, played with delicacy and much feeling by M. Fritzsche.

The Subscription Concerts have also terminated for the season, the last being one of the most brilliant. Beethoven's symphony, No. 9, with introduced chorus, was executed with admirable effect; a MS. overture of M. Müller called forth great applause; and M. Kulenkamp's performance on the pianoforte was highly gratifying. Demlles. Fürst Demlles. Fürst and Gerhardt were the principal singers.

A tolerably successful concert, notwithstanding the unfavourableness of the season, was given on the 24th May by the blind flute-player M. Berkenbusch, a pupil of Fürstenau.

An oratorio in two parts by M. Th. Weinlig, Die Feyer der Erlösung (The Festival of the Redemption), a work of great merit, admirably conducted by the composer, produced a favourable impression here. Beethoven's Christus am Oelberge (Christ on the Mount of Olives) has also been given under the direction of M. Aug. Pohlenz, with the combined strength of the members of the Singakademie and the Thomanerchor, supported by some of the theatrical vocalists. On this occasion also the Kyrie and Gloria from his Missa Solemnis were given for the first time here.

MUNICH.

No production of any importance has been brought forward at the Opera since the performances of Robert der Teufel, notwithstanding the efficiency of the company at present at the command of the Direction. The Prime Donne are-Mad. Schechner Waagen, of the benefit of whose talents, however, indisposition has for some months past deprived the theatre; Mad. Spizeder, possessing a powerful voice and depth of feeling; and Mdlle. Von Hasselt, a young singer modelled in the best modern Italian school by Romani of Florence, with a fine voice, neither however very powerful nor of great compass, whose excellent upper octave amply compensates for less fullness of tone in the lower notes, and who, as regards finished style and correct taste, leaves nothing to be desired. The Seconde Donne are: Mad. Pellegrini, a very good contralto; Mdlle. Fuchs, a most desirable soprano; and Mdile. Daisenrieder, a soprano highly gifted by nature, who, with assiduity, may expect to become a very useful Prima Donna. The principal tenor is M. Bayer, with a fine voice and deep feeling, and of a good school. The other tenors are- -M. Schimon, a very useful singer in comic operas; and M. Smidt, a young man of no great pretensions or promise. M. Pellegrini is the first base; his voice is of the finest and most sonorous description; his style good, and his singing very expressive. Other bases areM. Mittermayer, once a distinguished singer, but now on the wane; M. Standacher, also manager of the Opera; and MM. Fries and Lenz,

PRAGUE.

The only operatic novelty of late has been Donizetti's Anna Bolena, in the German language, the libretto being translated by Karl Baron von Braum; the parts of Anna and Johanna Seymour were sustained respectively with great spirit and ability by Mdlle. Lutzer and Madame Podhorsky, who, however, were but tamely supported by Mdlle. Gned and MM. Strataky, Dreka, and Illner. The opera, on the whole, produced but little effect.

The usual concerts of the pupils of the Conservatoire of Music have been given this year without exciting so much interest as they have hitherto done. This is attributed to the premature production of the compositions of the pupils, some of them being first attempts only, creditable enough perhaps as such, but improperly played in public, as their performance is seldom likely to afford real pleasure to the hearers, while it may prove a source of positive harm to the young composer, who, overwhelmed with encouraging bursts of approbation, and even called forward to receive the dangerous applause of the audience, for which he is indebted to his youth rather than the excellence of his composition, is not unfrequently led to overrate his abilities, and believe he has already acquired what can only be gained by continued and persevering application.

A concert has been given here by Professor Buschmann and his son, both playing on the terpodion invented by the father, an instrument better calculated for church than chamber music, the quality of its tone being a medium between the organ and the musical glasses. The performances of both might have afforded greater pleasure, if the pieces which they played had been of a more important character. Mdlle. Lutzer sung an aria from Bellini's Norma with triumphant success, and Die Nacht (Night), an aria with chorus by Thomascheck, sung by M. Strataky, and accompanied by the pianoforte, which alone constituted the orchestra, closed the evening's entertainment.

DRESDEN.

A very excellent concert was recently given here by M. Franz Schubert, whose performances were a Concerto of Lafont's, and a Fantasia, upon subjects from Le Pré aux Clercs; he is stated to have sacrificed much of the originality of his style to a desire to imitate Lafont, under whom he has been studying in Paris with great assiduity.

HAMBURG.

The opera of Ludovico, by Herold and Halévy, has lately been given here, experiencing, as has been its fate elsewhere, but an indifferent reception. reception. Der Bergmönch (the Mountain Monk), by Wolfram, on the other hand, proved exceedingly attractive. In this opera Mad. Rosner sustained in a very admirable manner the character of Franzisca; and the part of the Inspector was sung and played with great effect by M. Woltereck, who was no less successful as Mephistopheles in Spohr's Faust, in which Mad. Walker distinguished herself as Röschen. M. Haitzinger also, who has lately been here, elicited well-merited applause.

Concerts have been given by Mesdames Ostergaard and Fonseca, from Copenhagen; M. Schaller, on the harp; the young and clever violinist, M. Simonsen, from Jutland; the brothers Ganz and Brückl; and the tenor singer, M. Egersdorf.

A great improvement has taken place in our subscription concerts, under the able direction of M. Klauss. At the concerts of the past season, five in number, were played three symphonies of Mozart, one of Beethoven, and one by M. Klauss, a composition of a masterly description. The overtures were those to Don Juan, Oberon, Freyschütz, Johan von Paris, and one composed by Fr. Schneider. The concerts were comparatively poor in point of vocal music; the most prominent vocal piece was a composition of M. Klauss for four male voices. The instrumental solos, however, were good. M. Klauss's execution of Kalkbrenner's brilliant rondo, Gage d'Amitié,' Hummel's concerto in A Minor, and Beethoven's fantasia with full orchestral accompaniment and chorus, was excellent. M. Drechsler, of Dessau, on the violoncello, the brothers Fischer on the violin, MM, Bosse on the flute and oboe, and M. Wüstenhagen on the clarionet, displayed their talents to great advantage.

ELBERFELD.

On the 1st of June, Bernhard Klein's Oratorio, David, was excellently performed here; the orchestra playing with energy and precision, the choruses being sung in an impressive manner, and the solos justly meriting the warm applause with which they were received. GRÄTZ.

Auber's opera, Der Schuur oder die Falschmünzer (Le Serment, ou les faux Monnoyeurs) has considerably enriched the treasury of the theatre, having been frequently performed to full houses.

JENA.

The subscription concerts here have given great satisfaction; the symphonies, which were executed in a highly creditable manner, were by Mozart, Beethoven, Haydn, Kalliwoda, Onslow and Fesca; and the overtures were Nero, by Reissiger, Spohr's Berggeist, Caraffa's Masaniello, a new one by Kalliwoda, and Hans Heiling and Homburg by Marschner. M. Montag, from Weimar, played a concerto of Beethoven, and bravura variations by Pixis, with intensity of feeling and finished execution; and M. Apel, also from Weimar, played a very pleasing

divertimento of his own composition for the violoncello, in a most masterly manner, and a concerto of C. Weber was executed by M. Aghthe with very correct expression. There were other solo performances, by M. Schubart on the flute, M. Kochstein on the bassoon, M. Hüttenrauch on the oboe, and M. Stoer on the violin, all of them members of the Royal Chapel at Weimar. The vocal music was not inferior to the instrumental. Demoiselle Schmidt, from Vienna, sang delightfully; Demoiselle Haser was likewise deservedly applauded; and the efforts of MM. Schorrmüller, Kerling, and Genast, afforded much pleasure; the choruses were very satisfactory.

There have also been other pleasing concerts, at one of which the brothers Eichhorn played.

The Vocal Society is making gratifying progress under the management of its very able and zealous Directors MM. Kemmlein and Weber. MORGES.

M. Andre Spaeth, the talented and esteemed Director of the Musical Society, leaving Morges last autumn, he was succeeded by M. Joseph Schad, twenty-two years of age, under whose judicious management the winter concerts took place; the selections, and the manner in which the music was given, reflecting great credit upon him. The principal singers were Demoiselles Warnery, and Louise and Eliza Jaën, and MM. Couvreu and Hochreutiner.

ZURICH.

The symphonies at the Concerts, ten in number, of our Musical Society, have been two only, namely, Beethoven's Pastoral Symphony, and Mozart's in C; the overtures were by Beethoven, Mozart, Rossini, Kalliwoda, Boieldieu, Auber, Herold, Caraffa, and Schneider. The instrumental solos were numerous; among them were a concertino by Hummel for the clarionet, played by M. Ott-Imhoff: concerto and variations by Lafont and Kalliwoda, executed by M. von Blumenthal : a concerto of Hummel for the oboe by M. Sprüngli: a violin concerto of Molique by M. Edele of Stuttgart: a concerto of Weber for the pianoforte by Mdlle. Hagenbuch, and variations of Drouet for the flute by M. Duscheck. The principal vocalists were Madame von Blumenthal, Mdlle. Hardmeyer, and MM. Schuster, Espenmüller and Baumann, whose efforts were equally meritorious and successful. Some compensation for the sparing supply of symphonies was afforded by the execution with full chorus of Haydn's splendid mass in C, Mozart's hymn No. 1, and a sterling sacred composition by M. von Blumenthal, who for his benefit concert selected Beethoven's Fidelio, the execution of which, without the aid of scenery or other dramatic auxiliaries, gave such delight that its repetition at the Subscription Concerts was called for unanimously. Mdile. Hardmeyer sang the part of Fidelio exquisitely, and Florestan was given very effectively by M. Baumann. These delightful musical performances terminated on the 15th April with Haydn's Creation, the solos being admirably sung by Madame von Blumenthal, Mdlle. Hardmeyer, and MM. Baumann and Schuster. During the whole of the season there have been but two extra concerts, by two of the members of the Royal Chapel in Munich, M. Faubel, a clarionet player of some celebrity, and M. Menter, a violoncellist of established reputation, the former playing compositions of his own and of Stunz and Reissiger with uncommon delicacy and mastery of his instrument, the performances of the latter also affording great delight. On this occasion a talented young violinist from Munich, M. Mittermayer, pupil of the Conservatoire at Paris, gained much applause by his superior performance of some variations by De Bériot.

MILAN.

Madame Malibran appeared on the 5th May in Bellini's Norma with extraordinary success, this being the first of a series of twelve performances. She has also concluded an engagement with Duke Visconti, manager of the Teatro della Scala, at 450,000 francs for 185 performances, namely 75 in the autumn and carnival seasons 1835-6, 75 in the same seasons 1836-7, and 35 in the autumn 1837.

NAPLES.

Here, too, Madame Malibran has been received with enthusiasm. At a representation of Norma, in the presence of the court, besides being unusually applauded in the course of the performance, she was called forward ten times at its conclusion. Madame Malibran's engagement here is 80,000 francs and two benefits and a half for forty performances. ROME.

Madame Malibran gave a concert here on the 18th March, for the benefit of a family in a state of extreme indigence, which realized for them the sum of 600 pieces of gold.

PARIS.

The ci-devant Théâtre des Nouveautés, which is now appropriated to the performance of the comic opera, has been converted, in the short space of twenty days, from a dull and gloomy place into a beautiful and very pleasing theatre. The first representation was Auber's new opera Lestocq, which appears to have had a greater share of care and attention devoted to it than most of his latter operas; report speaking highly of the overture, the first chorus, a drinking song, the finale to the second act, a duet in the third, and a chorus in the fourth. A new

opera, by M. Labarre, The Midshipman, was less successful, the composer's talent being adapted to the composition of romances rather than of operas. Madame Casimir and M. Ponchard sang in the opera. BRUSSELS.

M. V. Pellaert's new opera, Faust, the text by Théaulon of Paris, has been produced here. The most attractive parts were the finale of the first act, and a trio and the finale of the second. M. Chollet as Faust, and Madame Privost as Margaret, acquitted themselves admirably.

AMSTERDAM.

On the 22nd March a novel experiment was tried here, namely the performance of a Dutch opera; the composer, J. van Bree, and the poet, I. van Lennep, being both Dutchmen. The opera is entitled Sappho ; it was very favourably received.

RUSSIA.

Kapellmeister Louis Maurer, accompanied by his two talented sons, lately left St. Petersburg for Moscow.

M. I. B. Gross left Dorpat in March, on a professional journey to Reval, Riga, &c. In the former place his first concert was but thinly attended, in consequence of his being mistaken for a musician of the same name who had been there shortly before him; his second concert, however, for the benefit of the poor, was over-crowded. He played two of his latest concertos, a capriccio of his own composition, and some variations by Romberg.

[A short account of some Foreign Musical Festivals will be given in our next.]

THE DRAMA.

KING'S THEATRE.

OUR last Number having been almost entirely occupied by the Festival in Westminster Abbey, which claimed precedence of all other matter, we had not a single line to spare for this or any department, save that devoted to the contents of the current Part. Had it, however, been otherwise, the King's Theatre would have supplied us with nothing worthy of notice. After Easter M. Laporte contrives to obtain good performers from the Italian Opera at Paris; then does not know how to employ them. Year after year we have the same operas, sometimes well got up, sometimes ill, but generally wearisome from frequent repetition: occasionally with a principal character omitted, and not unfre quently with half, or more, of the best pieces left out, because Madame That or Signor T'other either is not paid, or completely incapacitated by singing at other theatres or at concerts; M. Laporte always taking a considerable portion of what the performer receives for being rendered unfit to do his or her duty at the very place for which he or she ought to be reserved.

L'Assedio di Corinto continued to be occasionally given till the end of the season; and La Sonnambula was, amongst other things, performed, in which Mademoiselle Grisi at first shone no less brightly than she had done in every opera in which she had a part. But at length she began to exhaust from the fatigue of singing elsewhere, and, natu

rally enough, to grow discontented from irregularity in the payment of her salary; so that sudden changes, disappointments, &c., became the order of the night; and the theatre closed on the 12th of last month, leaving most of the performers dissatisfied, not without sufficient cause; the public displeased, with abundance of reason; and many writers for the press extolling the manager for his ability, activity, and liberality.

ENGLISH OPERA HOUSE.

Ar length this interesting theatre has started up out of the ruins which the public have so long deplored. The difficulties of many kinds thrown in the way of its re-erection made us begin to fear that it had fallen never more to rise, and that the Paul Pry order of writers would lose the glorious opportunity of displaying their eloquence by comparing it to a phoenix. However, thanks to the determined perseverance of Mr. Arnold, and the skill of Mr. Beazley, it has not only appeared once again, but in a much more beautiful and perfect form than it ever before assumed, and with a prospect of not only fully indemnifying all who have embarked capital in it, but of amply rewarding the manager for his active and enterprising spirit, and, what is of more importance than all the rest, of bringing into the field composers who may rescue English opera from the degraded state into which for years past it has fallen.

The new theatre was opened on Monday, July 14th. On entering it we were immediately struck by its beauty, with reference both to form and decorations. Everywhere is convenience combined with elegance. The audience part of the house is in the horse-shoe form. There are two full tiers of boxes, and at each side of the gallery are what may be termed box-slips. There is only one gallery, but this is capacious and comfortable: no part of the house is better contrived for seeing and hearing. The front of the first circle of boxes is ornamented with a

series of classical subjects, pencilled on a light ground. The second circle is decorated with imitations of shawl drapery, which are rather too warm, as well as somewhat heavy, but these are immediately to be altered, and the deep, crimson to be changed to a fawn colour. The boxes of the first circle, in the centre of the house, which are all separately enclosed, are thrown back, and before them a balcony is formed, two seats deep, fitted up with stalls, and having an open gilt balustrade in front. An additional shilling is put on these seats, which certainly are exceedingly convenient in all respects, though, we fear, they will prevent the boxes behind from letting, except on very particular occasions. Imitative balustrades, of a pale rose hue, relieved with gold, extend round the box-slips and gallery, giving a very delicate finish to the whole. Six slender fluted Corinthian columns, in white and gold, support the boxes and gallery, adding as much to the beauty as to the security of the house. The ceiling is handsome; it is concave, and divided into compartments, ornamented with musical symbols, and rendered more interesting by the introduction of medallions of several eminent composers. From the centre of this hangs a splendid lustre, lighted by gas. The proscenium is light, and tastefully ornamented in the Italian style. In the centre of this the King's arms are placed, on the right and left of which chains of flowers are introduced, and from these medallions of Mozart and Weber are suspended.

The principal entrance to the boxes is extremely handsome. From a grand portico of the Corinthian order is an entrance to a small, but well-proportioned hall, where the broad flight of steps on the right and left have a bold effect. Ascending these, the visiter finds himself beneath Roman arches, ornamented with roses in compartments. Under these arches is the corridor, connected on one side with the dress-circle, on the other with the saloon-a small, but pretty room, far removed from the audience. The pit is large, and part of it extends under the balcony. The house, when filled, will hold three hundred and sixty pounds.

During the first week some old pieces were performed; but on the 21st of July a new opera, written by Mr. Arnold, and composed by Mr. E. Loder-being the first essay of the latter-was produced, under the title of Nourjahad, which is thus cast:

Under the title of Illusion, or the Trances of Nourjahad, this drama was brought out at Drury Lane Theatre, in 1813; the music by Kelly. It was attributed to Lord Byron, who having denied it, Mr. Arnold was discovered to be the author. The story is that of Mrs. Sheridan's beautiful novel, and may be thus told :-Nourjahad is under the influence of a burning desire for inexhaustible wealth and immortality. His friend, the Sultan, in order to bring him to reason, causes Barhaddan to appear to him as a powerful Genius, who presents him with the key to a cave of boundless treasure, and with a liquor, the smell of which liquor, the smell of which confers immortality: accompanied, however, with the condition, that should he violate the laws of the Prophet, he will be subject to trances. His first crime, intoxication, is soon committed. Awaking, at the commencement of the second act, he is told that he has been in a trance during four years, and that his Mandane is no more, having died in giving birth to a son. He consoles himself with his favourite slave, Zulima. His second offence is cruelty, in refusing to allow Zulima to return to her anxious and entreating father. Again he goes to sleep. When he once more awakes, all seems changed: he is made to believe that he has been forty years entranced-that the Sultan and all his friends are dead-and that his son lives to execrate his memory. A scene now ensues of considerable interest: Schemzeddin personates the son of Nourjahad, and Mandane is presented to him as his granddaughter. His suffering is great, his repentance sincere, and he is sufficiently punished. The truth, therefore, is revealed to him; he obtains the forgiveness of every one; and all ends in the usual manner of operas.

In an Eastern tale, probability, of course, has no share; but, allowing for this, the story is well dramatized, the language is good; and though the dénouement is from the very beginning anticipated, yet some degree of interest is kept up to the end.

The music highly gratified, and not a little surprised us; except the overture, which we pass over without further notice. Every piece in the opera is calculated to please both those who are and those who are not qualified to judge it critically. Originality is, undoubtedly, not the chief characteristic of many of the composer's designs; but after the imitations, the plagiarisms, that we have been accustomed to hear on the English stage, the reminiscences met with in Nourjahad should be treated with lenity. This much we may safely assert-that whatever Mr. Loder is indebted for, intentionally or not, to certain popular composers, has been greatly ameliorated in passing through his hands; for even when the subject does betray some resemblances, Mr. Loder has treated it in so original, so elegant, and so masterly a manner, that

every possible allowance should be made for what perhaps has been rather the result of haste, than of a wilful determination to appropriatė to himself that which of right belongs to others. Indeed, the imitations or likenesses that we trace are more general than particular-more in the style than in the notes: though it cannot be denied, that in two or three instances the composer has used motivi which, on deliberately rehearsing, he might easily have discovered to be, strictly speaking, not altogether his own.

In our next, Nourjahad will come under Review: we therefore abstain at present from particularizing any composition; but will not quit the subject till we have done Mr. Loder the justice to declare our admiration of his instrumentation throughout. This shows not only a fine taste and vast knowledge of effect, but great invention that is to say, real genius.

As a whole, the opera was exceedingly well performed. Mr. H. Phillips was, as he always is, excellent; Miss Healy and Miss Romer both sing in tune and in time, have nothing at all vulgar in their manner, and their voices are agreeable: these are qualities for which, when the music is good, we would gladly compound. Mr. Wilson acted his part well-better than he sang it. His voice is much in his favour; but his style wants refinement. The orchestra did its duty in a most perfect manner; and every praise is due to the choral department. The piece is got up with a liberality which, we well know, tells in the end, but must have brought serious demands on the funds of a young treasury. Its success has been of the most decided kind; and it is our belief that Nourjahad will not be known to only the present generation.

EXTRACTS FROM THE JOURNAL OF AN AMATEUR. July 4th. The Festival in Westminster Abbey has so entirely engrossed all conversation allotted to musical matters, and whatever relates to that celebration has been, or will be, so completely discussed in every publication of the day, to the exclusion of everything else of the kind, that little is left for the tablets of an amateur, and not much will probably be supplied for some time to come. Of the four performances I shall briefly observe, that, judging from what I have heard and seen-though the excellence of the band, and the highly perfect state of the chorus (thanks be to the provincial musical societies!), were felt and are admitted by all-expectation was, generally speaking, disappointed. The directors did not take care that a musical committee equal to the task was appointed. To this must be imputed nearly all the errors that are complained of with so much justice.

6th. The Knight of the Single-string is accused of an attempt to carry off a single lady of sixteen: a married one or a widow would have been too wary to be wrought on by such a beau. At all events the story, true or false, will make as good a subject for the fiddle as the Friar's prayer,' or the Witches' dance.' There is an air, in No Song, no Supper, I believe, to which the adventure might be set. The melody is extremely pretty: the words, slightly parodied, run thus :

She's sweet sixteen, I'm three times more,
And yet she is too young, they say;
But I know better, sure, than they.
Youth should be coupled with three-score,

And I made haste to tell her so.

And then we whispered soft and low!But now, oh grief! her charms I ne'er shall know!

The following is the account of this attempt at gallantry, as published in the Observer of to-day. If not true, I cannot say that it is ben trovato.

'Paganini, strange to say, is charged with having induced Miss Watson, aged 16, to elope with him to the Continent. Mr. Watson has been professionally associated with the fiddler for some months, and they lived in the same house. He had made Miss Watson presents in diamonds, &c., valued at 350l.; and on the 26th ult. he left town in the Dover mail. The young lady secretly left home on Monday morning, and her father, suspecting she was withdrawing from his protection, followed in the instant, but could learn no traces of her at any coach-yard in London. He proceeded to Dover, and there he ascertained that Pag. had gone to Boulogne to await her arrival. He followed; and having obtained the assistance of the British Consul (Mr. Hamilton), when his daughter arrived in a steam-boat on Tuesday night, she was secured and restored to him. Mr. and Miss Watson returned to Dover on Wednesday. She says they were to be married on their arrival at

Paris, and he agreed to settle 4000l. a year on her; and she still thinks he will claim her as his bride.'

Four thousand a year! to secure which no less than one hundred thousand pounds must be invested!-a pretty good sum to scrape together! But young ladies of sixteen easily deceive themselves. It appears, then, that Miss Watson was stopped in her flight; Signor Paganini, if the story be true, was stopped in his attempt; so, naturally enough in a case in which the Italian played first fiddle, the finale exhibited a double-stop.

8th. After the rehearsal of The Messiah at Westminster Abbey, on the 30th ult., advantage was taken of the presence in town of so many good provincial professors, and a dinner was got up at the Freemasons' Tavern, at which about 250 persons assembled, and enjoyed a social repast: but the chief purpose of the meeting was the performance of madrigals, together with a few pieces of sacred choral music. Of this number, upwards of two hundred, including nearly all the best vocalists in London, took a part, with an effect that can hardly ever again be produced, and will be remembered while any one of the party survives. Sir John Rogers, Bart., took the chair. None but a man of his wit and tact could so well have managed such a body of people, all in high spirits, determined to deliver themselves up to enjoyment, and very unwilling to be controlled.

This meeting originated with Mr. Hobbs, the sweet tenor singer, who was as successful as indefatigable in accomplishing his object. The following compositions were performed:

11th. The papers have killed our great singer! The cholera is stated to have inflicted this injury on us; and a morning paper of to-day gives the particulars of his death, and of his life. But Mr. Braham, after all this, instead of quietly submitting to the ceremonies of a decent interment, was actually seen conversing with the Master of the Ceremonies at Cheltenham! A dead man stalking abroad in open day was surely a misdemeanor, though I cannot exactly point out the statute under which it may be punished. But, joking apart, as he was in sound health at the time, he would not be very much shocked by this paragraph; and he must feel much gratified by the universal regret it excited till the contradiction appeared.

12th. The Chevalier Neükomm's oratorio David, composed for the ensuing musical festival at Birmingham, was rehearsed this morning at the Hanover Square Rooms, with a small instrumental and choral band. It would be rash to offer an opinion of a work of this magnitude on a first trial, and performed by so inadequate a force; but I may run the risk of saying, that I shall have much deceived myself if this work does not prove the chef-d'œuvre of the composer, and serve for future times as a distinguishing mark of the meeting for which it was written.

'A recent addition to the number of the members of the Philharmonic Society has recalled to us, by contrast, the circumstances of the black-balling of Moscheles. Have the electors any standard for admission or not? or do matters go by demerit? These things require revision.'

The Philharmonic Society is, I fear, fast approaching that state in which it will no longer be useful; perhaps much the reverse. Canvassing for the office of director is a baneful practice; it introduces very inadequate persons: and procuring the election of members by the same means is still more injurious, by bringing in those who have no claim, and excluding others that ought to be admitted, who would prove highly serviceable, but cannot stoop to solicit votes. In truth, the Society is in great danger of becoming a rank job.

20th. A gentleman who left Birmingham yesterday speaks in very extraordinary terms of the new grand music-hall just built in that opulent and important town. The dimensions, as to length and breadth, of this saloon are nearly the same as those of the nave of Westminster Abbey; but, being without columns, will contain more persons. The new organ was erected, and some of the largest pipes were placed. These, my informant tells me, can only be described as well-tuned thunder. The instrument itself is the largest, by far, in Europe; and its power is even more vast in proportion than its size. This festival bids fair to much surpass that which has recently been celebrated in London; in point of selection, its superiority will be beyond dispute. And there can be little doubt that the four hundred performers engaged, including all the élite of the London orchestras, will produce much more effect in such a hall, with nothing to damp the sound, than six hundred did in the Abbey, where they had to contend against a deadly foe, floating many a rood," disguised as thick crimson baize.

23rd. The meeting of the three choirs is this year at Hereford, and commences on the 16th of the present month. That, in many respects," says the Spectator of this date, it will exceed the Royal one, we have no doubt; for a gentleman of the name of Wesley is the conductorby birth and education disqualified for having any predilection for sought in the quality of its music, and not in the quantity of its band, musical trash; but the superiority of the Hereford meeting must be which has rarely exceeded 150. The next Festival, which also will be on a limited scale, is that of Hull, conducted by Sir G. Smart; and this will be succeeded by one at Aberdeen, under the direction of Messrs. T. Cooke and E. Taylor. In the following week (i. e. the 7th, 8th, 9th, and 10th of October,) the long-expected Birmingham Festival takes place. It was at Birmingham that the attempt was made to assemble [in a provincial town] a first-rate band for the production of The Chevalier Neükomm's oratorio

sacred classical music. .

NOTICES TO CORRESPONDENTS.

In our next, we shall profit by the communication of J. E. C., the Oxford Correspondent of T. C., Esq.; and hope to hear from him often.

We shall be obliged by any MS. from C. H., jun.; and he will doubtless allow us to exercise a discretion as relates to publication.

W. H. S. will have observed that we have already, in one instance, attended to his recommendation. We shall be obliged by a sight of the MS. ballad.

To A Subscriber' we reply that it is neither advisable nor possible to avoid occasionally publishing what has already appeared in so voluminous and well-selected a work. Our Correspondent is, perhaps, not aware that, of the subscribers to the Musical Library, nineteen in twenty do not possess the Harmonicon.

We are much indebted to J. W. D. In the course of the month we shall avail ourselves of his kindness.

The March by Himmel, obligingly sent by W. M., we accept, with many thanks. Our Publisher has handed us a letter from Z. We always regret the appearance of errata, though no work can be wholly free from them. We totally differ concerning the transposition; and recommend the writer to have recourse, in future, to terms which good-breeding dictates.

We beg leave to decline the MSS. of J. S. and A. C., but with many thanks. That of G. D. is under consideration.

We feel greatly indebted to R. F. E. for his very obliging communication, but Church Music does not come within our plan.

We will, as early as possible, give our attention to the works by Signor F., sent us by J. W. C., and communicate by note with the latter gentleman,