cellent basso primo, appeared at the Royal Opera-house, as Jacob, in Joseph in Egypt. This part was not well selected for a début, but the opera was brought to such a pass, that nothing else with a base part could be produced. After Christmas, Madlle. Pixis appeared, for the second time, as Rosina, in the Barber of Seville; she was the star of the theatre. The twin-star was the performance of Oberon, in which Madlle. Lenz reappeared after a long illness. Her part, however, did not suit her, being better adapted to Madlle. Lehman.

The new year commenced with the performance of Zauberflöte, in which M. Bötticher (formerly in the orchestra) took the part of Sarastro. He displayed a fine, powerful voice, and gave considerable promise. On the 17th of January, Madlle. Stephan appeared as Fidelio, and we rejoiced to think, that by her presence we might now be enabled to bring out something like grand operas. However, the studying of parts, which require reflection from the greatest artistes, must not be hurried; the songstress' task was evidently too much for her. Towards the middle of the month, Madlle. Hagedon made her début as Head Priestess, in the Vestal. She has a beautiful though not powerful voice, and an imposing figure.

VIENNA.

On the 29th of November, the society of Friends to Music in the Austrian Dominions, gave their first concert of the season. It began with the first movement and the scherzo, from Beethoven's symphony in D minor. We had always regarded these symphonies by Beethoven as complete musical pictures, and hence, could by no means approve the playing of some parts, and the omission of others; indeed, the performance itself was not worthy of the composer. Whoever could listen to a duet by Rossini, after a symphony by Beethoven, might have felt some pleasure in hearing one sung by MM. Kreipl and Mellinger. A chorus from Handel's Messiah carried its own recommendation with it; and some variations, composed by Proch, and played by him on the violin, formed a brillant piece, which called for, and obtained applause from all hands.

On the 6th Dec., Mad. Schröder Devrient, having recovered from a severe illness, appeared at the Hofopfern Theater, as Romeo, in Bellini's Capuleti e Montecchi.

To the real lover of art, has the house of the celebrated musical historian, M. Hofrath Kiesewetter, been open for many years, where are played such works of the ancient church music as are adapted to a cultivated taste alone. Towards the end of December, we heard there a mass and a motet by Sebastian Bach. In listening to the compositions of this learned genius, this Immanuel Kant of Music, one is penetrated with a genuine religious feeling, as well as astonished at the boldness of the harmony. The solos are very original, as the accompanying instruments seldom serve as a guide to the voice, but pursue a course of their own. A question obtruded itself upon us: Will posterity a hundred years hence listen to a composition of the present times, as we do to one by Sebastian Bach?

M. Bocklet, at his second concert, played Hummel's charming concerto in A, and a new Concert fantastique by Moscheles, which has not yet appeared in public; this is a very original work, which, with the exception of some bizarre turns at the beginning, is formed into a very imposing whole. Criticism on the performance would be vain; Bocklet always plays like a master, and never can do otheriwse.

On the 8th of December, the director of the Church-Music-Union gave a grand Academia in honour of Haydn, Mozart, and Beethoven. Such great masters are best honoured by the performance of their own works, but these must be played in a manner worthy of their composers, and the performance must be perfect in all its parts. Such, alas! was not the case with this Academia, for it went off worse than we could possibly have expected. True, such negligence casts no discredit on the composer, but then it reflects a world of dishonour on the musicians, and, most of all, the director*.

JENA.

Our last musical year was rich in events, and passed off well. The usual six Academic concerts afforded opportunities of hearing symphonies by Beethoven (in в and a major, the last twice by particular desire), Ries, Mozart (a minor), and Kalliwoda (No. 3). The first of the series of foreign artistes was M. Professor Töpfer, of Weimar, well known as a skilful pianist, and still better as an organist. He began his career with Beethoven's concerto in c minor. His own brilliant, well-wrought though somewhat lengthy trio, in which he was excellently accompanied by MM. Götze and Apel, members of the Weimar Kapelle, left nothing to desire, as far as execution was concerned. M. Apel delighted us by his admirable performance on the violin of a pot-pourri composed by himself. As a well-known constant guest, appeared M. Schubart, the flutist, who with applause played variations by Schönfeld, as well as a rondo alla polacca for two flutes by Prüfer, with his very promising pupil M. Kuhnt. Then we had M. Götze, jun., and M. Montag from Weimar, who may be called the darlings of the public. The latter played with great skill and expression a concerto by Kalkbrenner, and with M. Götze, Beethoven's powerful Kreutzer-Sonata. M. Götze met

* For a translation of the Prologue spoken at this Academia, vide page 65,— EDITOR.

with tumultuous applause, not only as a violinist but also as a singer. The same deserved good fortune befell M. Aghte who played his own compositions, as well as some by others on the clarionet. A pot-pourri by Weber was played on the violoncello in such style, that one could scarcely have imagined that the performer was an amateur. This dilettante was M. Bruns, a theological student, who, by his very tasteful performance, contributed much to the pleasure of our evenings. M. Unia, a young Italian, played on the piano-forte a fantasia by Kalkbrenner, and a rondo brillant by Hummel, whose pupil he is. A new proof that this excellent master's solid school, to which countless pupils are thronging from all quarters, is becoming acknowledged in a sphere which gradually increases.

Grander compositions of several kinds were performed by the Academic Vocal Union, the most important of which was the Ostermorgen (Easter morning), by Tiedge and Neukomm, which was on the whole so excellently done as to awaken in all the lovers of music a desire to see the Academic winter concerts often enriched by such gifts. Most of our extra concerts were particularly good.

M. Löwe, whose Apostle of Philippi had already received the applause of all the connoisseurs here and at Weimar, and whose choruses (particularly those of the Christians) had made a powerful impression on the public at large, gave, before his departure, and at the request of many, a musical entertainment, in which he absolutely enchanted the public by his perfect performance of his own ballads.

Our orchestra, on the whole, played most of the instrumental compositions, particularly those by Beethoven, better than we could have expected, from the small number who were paid.

DRESDEN.

On the 23rd of November, the new hall of the Hötel de Saxe was honoured by a concert under the direction of M. Fürstenau, and arranged as follows. 1. Mendelssohn Bartholdy's Meeresstille und glückliche Fahrt (Calm Sea and Prosperous Voyage). We must confess that this did not produce the effect we had anticipated from the brilliant accounts from Leipzig. 2. An introductory poem by Theodore Hell, spoken by Madlle. Bauer. 3. A concertino for the flute, composed and played by M. Fürstenau. The composition was interesting, the execution brillant. 4. Aria by Pacini, sung by Madlle. Sabine Heinefetter. No aria at all, but one of those adapted violin variations which have been sung by every bravuress since the days of Catalani. The public were delighted, and called for an encore, which call the young lady obeyed, and sung even better than before. She has a magnificent voice, and a fine method. Her depth is wonderful, and her delivery enchanting, It is too bad that she provided she does not give an overplus of force. sings such mere display-pieces. A song should, while it utters words, express feelings; but we should like to know what feelings can be excited by such stuff as the following, which might be executed best by a musical snuff-box, because it has no soul:

Second Act. 5. Introduction on two flutes on a theme from Robert the Devil, composed by Fürstenau, played by him and his son aged eleven years. 6. Das Waldvöglein (the Woodbird), a song, with bugle obligato by Lachner, sung by Madlle. Heinefetter, accompanied by M. K. M. Haase-an unimportant piece, which passed off without producing any effect. 7. Fantasia for the piano, accompanied by orchestra and chorus, by Beethoven, played by M. Schneider in a manner worthy of his reputation. 8. Variations on the violin by Beriot, performed by M. Winterstein-A beautiful composition, beautifully executed. 9. A Duet by Morlacchi, sung by MM. Zezi and Vestri. 10. Adagio and Variations from Preciosa, composed and played by M. Fürstenau. Very brillant!

ITALY.

The following is a list of the performers who will appear at the principal theatres in upper Italy at the ensuing Carnival, extracted from a Milan paper.

Milan. Teatro alla Scala. Opera: Prima donnas, Mad. Malibran, Mad. Schoberlechner. First Tenors, M. Poggi, M. Reina. First zetti's Maria Stuart, Bellini's Puritani, Vaccai's Giovanna Gray, comBasses, M. Marini, M.. Marcolini. Operas to be performed: Doniposed purposely for the present company. Ballet: composer, M. Morosini. First dancers, M. Rosier, Madlle. Saint Romain. First Mimes, Mad. Pallerini, Madlle. Colombon, MM. Ronzani, Bocci, Trigambi, Casati. Grand Ballet: Bianca di Castiglia. Minor Ballet: L'Isola dei Portenti. (The Isle of Wonders.)

Bergamo. Opera: Prima donna, Madlle. Melas. First Tenor, M. Regoli. First Basso-serio, M. Negrini. First buffo, M. Trezzolini. Operas to be performed: Nina pazza per Amore, by Coppola; L'Elisir d'Amore; the third yet undetermined.

Cremona. Opera: Prima donnas, Madlle. Vittadini, Mad. Calamari Maggioni. First Tenor, M. de Gattis. First Basso-serio, M. Valli.

Mantua. Opera: Prima donnas, Madlle. Blasis, Madhe. Viale. First Tenor, M. Mori. First Basso-serio, M. Rigamonti; first buffo, M. Galli. Operas to be performed: Il Pirata, by Bellini; Nina pazza per Amore; and Norma.

Verona. Opera: Prima donnas, Mad. Ferlotti, Mad. Carraro. First Tenor, M. Tatti. First Basses, M. Bottelli, M. Berini. The operas to be performed are yet undetermined.

Turin. Opera: Prima donnas, Mad. Grisi, Madlle. Giacosa. First. Tenor, M. Donzelli. First Bass, M. Schober. The first opera will be Gl' Illinesi, composed by Coppola for this company.

Genoa. Opera: Prima donna, Madlle. Palazzesi. First Tenor, M. Paganini. First Basses, M. Giordani, M. Coletti. The operas will be Rossini's Mosè, and Bellini's Puritani.

Parma. Opera: Prima donna, Mad. Boccabadati. First Tenor, M. Pedrazzi. First Basses, M. Varese, M. Lei. The first opera will be

I Puritani.

Picenza. Prima donnas, Mad. Ferron, Mad. Scheggi. First Tenor, M. Milesi. First Basso-serio, M. Botticelli, first buffo, M. Scheggi. The first opera will be Beatrice Tenda.

Modena. Opera: Prima donna, Mad. d'Alberti. First Tenor, M. Pompejano. First Basso-serio, M. Leonardi, first buffo, M. Fontana. Rome. Teatro Apollo. Opera: Prima donna, Mad, Schütz-Oldosi. First Tenor, M. Basadonna. First Basses, M. Zuchelli, M. Marini. The first opera, Persiani's Ines de Castro.

Bologna. Teatro Comunale. Opera: Prima donna, Mad. Gabusi. First Tenor, M. Zamboni. First Basso-serio, M. Constantani. First buffo, M. Vaccani. The first opera, Nina pazza per Amore. Ancona. Opera: Prima donna, Madlle. Marchesi. First Tenor, M. Tincolini. First Basso-serio, M. Ludovici; first buffo, M. Cipriani. The first opera will be Il Furioso, by Donizetti.

Naples. Teatro san Carlo. Opera: Prima donnas, Mad. Ronzi de Begnis, Mad. Tacchinardi-Persiani, Mad. Duprez. First Tenors, MM. Duprez, Mariani, and Salvi. First Basses, MM. Coselli, Ranconi, and Porto. Ballet. Composers, MM. Henry, Taglioni, Samengo, and Guerra. First Dancers, MM. Petrot, Guerra, and Mattis; Mad. Brugnoli-Samengo, Mad. Mattis, Madlle. Grisi. First Mimes, Mad. B. Samengo, Madlle. Pompei, Madlle. Grisi, MM. Bianchi, Bolognetti, Coppini, and Ottavo. (Operas not yet named.)

Palermo. Teatro Carolino. Opera: Prima donnas, Mad. Demery, Mad. Franceschini. First Contralt. Mad. Santolini. First Tenors, M. Antognini, M. Santi. First Basses, M. Baroilhet, M. Antoldi. (The operas are not yet named.)

Florence. Teatro della Pergola. Opera: Prima donna, Mad. Borili. First Tenor, M. Piatti. First Basso serio, M. Leoni. First Buffo, M. Galli.-Teatro Goldini. Opera: Prima donna, Mad. Corradi. First Tenor, M. Mombelli. First Basso serio, M. Zucchini. First Buffo, M. Lauretti. The first opera will be Il Falegname di Livonia, by Pacini.

Siena. Opera: Prima donna, Mad. Lucii. First Contralt. Mad. Suddetti. First Tenor, M. Antonelli. First Basso serio, M. Feretti. First Buffo, M. Placci. Operas to be performed are I Normanni, La Parisina, and Il Furioso.

Lucca. Teatro de Giglio. Opera: Prima donna, Madle. Aman. First Tenor, M. Mazza. First Basso serio, M. Ronconi, first Cambiaggio. Operas to be performed: Torquato Tasso and Gli Esposti.

THE DRAMA.

SINCE our last report nothing has been produced at our English theatres that calls for any particular notice, except Herold's Zampa, which, under the title of The Corsair, was brought out at DRURY LANE, on Saturday, March the 19th; but the Italian opera, and many concerts, so entirely occupied the short time our printer could afford us, that we had no opportunity of hearing it. We shall notice it in our next; as well as the adaptation of it at COVENT GARDEN.

At the ST. JAMES'S THEATRE Some new short pieces have been successfully brought out, in which humour was more the object than music. The Siege of Belgrade has been revived, for Mr. Braham, and proved exceedingly attractive. The Beggar's Opera, too, has been performed, in which Miss P. Horton, as Polly, appeared to great advantage as a singer. She is one of the most promising vocalists now on the stage.

The season here has been a very profitable one, though at the commencement the public were apprehensive that the theatre might prove damp. KING'S THEatre.

THIS theatre opened on Tuesday the 5th ultimo, with Bellini's opera, La Straniera, which never did, and never can, succeed in London. It now had even less chance than on any former occasion. But the new singers who filled the principal parts, we shall presently notice.

On Tuesday, March 19th, was performed, for the first time here, Beatrice di Tenda, a tragic-opera, in two acts, by Bellini. It is thus

Scene, the Castle of Binasco. Period, the year 1418. This should have been entitled, La Virtù punita, e la Crudeltà trionfante, for a more perverse, wanton abnegation of all justice-a more scandalously immoral drama, never was suffered to be represented on this or any other stage in Europe. If the licenser did not read it, he neglected his duty: if he did, he betrayed his trust. The following is the story, at which savages would revolt:

Philip, raised to the dukedom of Milan by his marriage, afterwards becomes enamoured of Agnese. She secretly loves Orombello, who entertains a passion for Beatrice, the duchess. Philip, a kind of Henry VIII., determines to sacrifice his wife; and Agnese, finding that Orombello is elsewhere attached, in revenge plots the ruin of him and Beatrice. She accuses both of a criminal intercourse. They are put to the question; racked! Orombello, to avoid further suffering, admits the justice of the accusation. Beatrice, supported by conscious virtue, denies the charge. Each is again tortured! Orombello, however, now retracts, and proclaims the innocence of the duchess. Even Agnese feels remorse. The accused, however, are tried by certain judges; of course found guilty. The duke signs the death-warrant of his nobleminded wife; she is led to execution, and the marriage of the murderer with Agnese is supposed to follow.

Such a story was patiently listened to in this lip-religious age! Let us hope, however, that few understood a single syllable of it. The probability indeed is, that not one in twenty present had the most remote idea of what was meant by any scene. The claqueurs in the pit,—such a set we never before saw assembled !-like judges in the opera, came to determine, not to hear.

The music is unworthy of criticism: as noisy as fashion can wish. Turkish instruments and drums are in almost every piece. The Introduzione, on a very pretty subject, led us to hope something, but every subsequent scene diminished this hope. The short trio, Angiol di pace, which occurs quite at the end of the opera, is the only thing which can be favourably mentioned, with the above exception. The claqueurs did not even attempt an encore, from beginning to end; and at the conclusion, they alone brought their hard hands into noise-making

In the character of Beatrice Madame Colleoni-Corti made her début. With a shrill soprano voice, and a style which at the Olympic we should have thought a burlesque of the vagaries of Italian singers, she must not flatter herself with any hope of success here. Signor Cartagenova, who has a high, but real base voice, would be a respectable singer, did he not bawl so outrageously. Bating this, his style is not vulgar, his person is much in his favour, and his action free from any glaring fault. We cannot bestow the same praise on Signor Winter, who is the same that appeared three or four years agot. His voice is manly, and of good quality. But he, too, shouts like a bellman. Though with such a figure, and such a deportment, the finest singer would find it difficult to conciliate the public.

When we add, that the first general rehearsal of this opera was on the Friday preceding the Tuesday when it was brought out, we need not add that the performance of the choruses, &c., was anything but what it

ought to have been.

The scenery, decorations, &c., were quite in keeping with the host of claqueurs in the pit; not in number, but in appearance.

TO READERS AND CORRESPONDENTS. **The Review of Music, and other articles in type, are necessarily deferred till our next. The unexpected quantity of temporary matter renders this postponement

necessary.

Printed in the present Number of THE MUSICAL LIBRARY. + Sir our discontent.

said of him, at the Opera-Now is the Winter of

Commonly called The Nightingale Chorus, from Handel's oratorio, Solomon. The author's flute part is here preserved in an almost unaltered state, and, it is unnecessary to say, is an important addition; though the piano-forte arrangement produces a very good effect independently of the accompaniment. The following are the words of the chorus, which is sung as Solomon and his queen are retiring from the scene:

May no rash intruder disturb their soft hours!
To form fragrant pillows, arise, O ye flowers!
Ye zephyrs soft-breathing their slumbers prolong,
While nightingales lull them to sleep with their song!

Who wrote this drama for Handel does not appear. In the list of oratorios by Dr. Morell, Solomon is not included; it is fair, therefore, to presume that he had no hand in it.

CHORUS (Page 136).

From the censer curling rise
Grateful incense to the skies:
Heaven blesses David's throne;
Happy, happy, Solomon!

Live, live for ever, pious David's Son!
Live, live for ever, mighty Solomon!

The grand double chorus, or chorus for two choirs, from the same oratorio as the preceding. The false concord in the two first of the above lines seems to have escaped notice; at least the bad grammar has never yet been corrected. We would propose to substitute odours for incense,' but know, by experience, how hopeless the endeavour to reason on such subjects with most musical men.

VOL. III.

ELEGIA (Page 121).
Sotto la falce barbara,
Di non attesa morte,
Caduto è il cigno sicolo;
Ahi! sventurata sorte!
Delizia dell' Italia,

Dall' uno all' altro polo,
Fama verace e rapida,
Per lui spiegava il volo.
Novi trionfi cinsero,

Il crine suo d' allori,

E la real Lutezia

Gli aggiunse nuovi onori. Ahi! piangi Catania misera, E teco pianga il mondo, Infin che un nuovo genio A lui non sorga secondo.

SONG (Page 124). An Address to a Locket. 1.

Come, thou soft and sacred favour, The remembrance chaste impart, Take thy station on my bosom,

Lightly lodging near the heart. While that tender heart shall flutter, Thou the secret cause shalt share, Whether pleasure or disaster,

Thou shalt see what stirs it there.

2.

When the hope of happy tidings

Shall the sweet sensations move, When the white and winged agents Whisper friendship, whisper love; Then, all sympathetic thrilling,

Thou the rosy stream shalt guide, While, as runs the ruddy treasure, Thou 'rt the genius of the tide.

3.

Haply, when this heart is sinking,

Thou shalt soothe the rising sigh;
When with woe surcharged, 'tis beating,
Thou shalt see the reason why.
Come, thou dear and decent favour,
Learn what thou wilt ne'er impart,
Fix thy throne, and fix it ever,
In the regions of my heart.

The words are from Emma Corbett, a novel much read nearly sixty years ago. The beauty of the music, by Dr. ARNOLD (see page 26), will give a duration to these verses which their intrinsic worth could not have secured to them.

From the French, by Sir JOHN MOORE, Bart. The song was once ascribed, says Ritson, to Dr. Johnson, but was printed as Sir John Moore's in an edition of his Poetical Trifles, published during his life.'

The music to which these words are adapted is from a German opera, Fortunat mit dem Säckel und Wunschutlein (Fortunatus with the Purse and Wishing-cap), performed at Frankfort on the Maine, in 1832, composed by

XAVER SCHNYDER, OF WARTENSEE,

who is well known in Germany for many publications of considerable ability, and highly esteemed as a theorist, whose instructions are much sought after by young aspiring musicians.

This is from The Tempest; not Shakspeare's, nor that drama as altered by Dryden and Davenant, but from a second metamorphosis, made by Garrick, and so performed at Drury Lane in 1756, when the whole of the lyrical poetry introduced by Shakspeare in the play, also what was added by the bold innovators in 1670, together with the present song,-which does not appear in what is called 'Dryden's Tempest'—was set by

JOHN CHRISTIAN SMITH,

an excellent musician, who composed four oratorios and some sets of lessons, besides The Tempest, and other works. He was much connected with Handel, who bequeathed to him and Mr. Stanley (the blind organist) conjointly, his collection of music, which led those two to carry on the oratorios after the death of the great composer in 1759. The present song,-(erroneously ascribed to Purcell) and Full fathom five,-which Smith had the courage to re-set, and succeeded-will long continue to float his name down the stream of time.

SONG (Page 138).

Henry cull'd the flowret's bloom,
Marian loved the rich perfume,

Had playful kiss'd, but Prudence, near,
Whisper'd softly in her ear,

'Simple Marian, ah! beware!

Touch them not, for love is there!'

From Rosina, an opera, first produced in 1783, the touching simplicity of which, and still more the charms of the music, have kept, and will long keep, it on the stage. The drama was written by

FRANCES BROOKE,

wife of the Reverend John Brooke, rector of Colney, in Norfolk, and daughter of the Reverend Moore. Mrs. Brooke wrote also the novels of Lady Julia Mandeville; Emily Montague, &c.; and among her dramatic works are The Siege of Sinope; Virginia; Rosina; and Marian. She died in 1789, having survived her husband but five days.

The music of Rosina is, nearly all, by SHIELD, but he introduced into it two Scottish melodies, and the above air, which is the composition of

ANTONIO-GASPARO SACCHINI,

a Neapolitan, born in 1735, and educated under Durante, in the Conservatorio di Santa Maria di Loretto, at Naples. So soon as his education was completed, he received an invitation to Rome, and became composer to the chief theatre of that city. He afterwards furnished operas for most of the principal cities in Italy. In 1769 he succeeded Galuppi as director of the Conservatorio L'Ospedaletto, at Venice, where, among other singers formed under him, was the famous Gabrielli. A tempting offer induced him to quit Venice for Stuttgardt; thence he proceeded to Holland, and reached England in 1772. His first opera here was Montezuma, which was eminently successful. This was followed by Perseo, Tamerlano, The Cid, &c., all contributing to augment his fame. ment his fame. The cabals, however, of the King's Theatre after a time proved equally injurious to his professional character and fortune, and hastily quitting London in 1781, he went to Paris, where he brought out two operas with no marked success; but collecting all his force, he produced his Edipe, his masterpiece, which so firmly established his reputation in France, that his name is, even now, never mentioned in that country but with the utmost reverence. He died in Paris in 1786.

ROUND-(Page 140).

Se placar volete amore,
Belle ninfe inamorete,
Imparatelo da me,

Nel contrasto amor si rende
Con chi cede a chi si sende

Mai si barbaro non é.

One of the Rounds-or Canoni, as the author calls them-composed by VINCENZO MARTINI. (See page 2.)

[Continued from page 63.]

No. VI. ARMAGH, IRELAND.

THE city of Armagh is the ecclesiastical metropolis of Ireland, and owes it origin and pre-eminence to St. Patrick, the acknowledged apostle of Ireland, who built its cathedral and other religious edifices in the year 445. St. Patrick constituted Armagh the mistress and metropolis of Ireland, fixing there the Primatial See, of which he is generally supposed to have been the first bishop. But further information on the subject may be found in Stuart's Historical Memoirs of Armagh.

The cathedral establishment of Armagh was incorporated in the tenth year of Charles I. by a charter drawn up by Archbishop Laud, granting certain lands (called Ballyboes) and impropriations for the continual performance of divine service. The most curious, or rather flagitious, part of this charter, is, the power it gives to the Primate of Armagh to act as his own visiter; or, in other words, to be judge in all cases whenever the inferior members of the church may appeal against his authority, however unjustly exercised by himself, his agent, or commissioner; and he has the power to suspend, or even expel, any member of the choir at his pleasure,-the injured individual having no legal means whatever of seeking redress! After searching the records of many other establishments of this kind, nowhere do we find such an instance of clerical assumption; but it is worthy of Laud, and of the reign in which he was allowed to exercise other tyrannies of the most insulting, and grossest kind.

The establishment consists of a Dean and four Prebendaries, four Rural Deans, seven Vicars-Choral, an Organist, and eight Choristers, who perform divine service twice on Sundays, and once on Wednesdays and Fridays. In the cathedral are two organs; one by Father Smith, seldom used,-the other, a very superior instrument, by Snetzler. Formerly the organist and vicars-choral managed their own revenue, which, arising from town lands adjacent to the city, and from the renewal of leases, is often considerable; but latterly this, their own business, has been taken out of their hands. A commissioner, appointed by the primate, together with the agent, who is also an officer of the archbishop, manage this between them, irresponsible to the vicarschoral, and under no control but that of their diocesan, who has the power of suspending or expelling any complainant by his own authority; and, let it be recollected, without the unfortunate sufferer having the power of appeal!

The salary of the organist and master of the boys is 160., to which are added a large house and garden. The salary of the vicars is 901. a year, with house and garden. This sum cannot increase, but may diminish. And now, when any vicar dies, it is the scandalous practice to appoint a deputy, or assistant, in his stead, who receives about half the salary: it is, therefore, unnecessary to say, that the duty is performed in a manner correspondent to the abridged emoluments of the office. The choristers are boarded and educated in the house of the organist; and when their voices change, they are apprenticed out to some trade, or retained as assistants, if capable. Some attempt to obtain a livelihood by teaching singing, &c.

Not the least remarkable feature in this establishment is the set of orders and statutes drawn up for the government of the vicars-choral. The two following will show the spirit in which they are conceived :

14th.-All the vicars shall be liable to the archbishop's visitation, and shall appear in the chapter-room before the archbishop, or his visiter, when they are thereunto called, upon all occasions; and if the archbishop or his visiter, in some special causes that concern the good of the church, urge any vicar to declare his knowledge, and the said vicar refuse to declare the same, he shall be urged thereto by all lawful means, and if he shall then refuse, he shall, after three admonitions, be expelled.

It is further ordered and enacted, that the vicars-choral shall not at any time presume to grant away, alien, demise, let, or dispose of any parcel of the lands, tenements, or hereditaments, which they do now possess and enjoy, in right of their being vicarschoral of the cathedral church of St. Patrick, Armagh, to any person or persons, bodies politic or corporate, for any greater or longer estate or term than the term of one year, without the consent, allowance, and direction of the archbishop, under pain of

THE WAR OF THE CONCERT-ROOMS.

M. LAPORTE has commenced hostilities against every metropolitan concert-room, except that of the King's Theatre, by declaring that none of his singers shall be allowed to perform at any public concert not given on his premises.

M. Laporte (query, his assignees?) certainly has a right to come to such determination, and the public have an equal right to form their own opinion on the subject, and act accordingly. Knowing that the opera concert-room, as now altered, is not the best in the world for sound, and having learnt by experience that the Hanover-Square Room, and Willis's, are in every possible respect more agreeable and convenient, those who give concerts, as well as those who frequent them, will not submit to the dictation of M. Laporte, or sanction his attempt at monopoly, for the sake of a few vapid airs from the operas of Donizetti and Bellini. The musical public well know that Grisi, Lablache, &c., are in their real element on the stage, where they are heard to the best advantage, and that in the concert-room they meet with many rivals, if not superiors, as concert singers. They know that, if foreign performers be the object, Madame Caradori is at liberty; that Ivanoff, a far better singer than Rubini, is here; and that Madame Malibran, who altogether is unequalled, will in a very few days be ready to receive any engagement. They know, also, that there is no lack of good English vocalists, and that new ones are starting up every season. And they are beginning to acknowledge that, admitting the great merit of some Italian singers, there is in many of them a prodigious deal of what, for want of a more polite word, we must call humbug.

This determination of M. Laporte, or of his assignees, will be productive of many advantages; it has already been attended by one of an important kind, the example set by the Duchess of Kent, which, doubtless, will have due influence on the sensible portion of the great world, as well as on the public at large.

Mr. Sale recently applied to M. Laporte for permission to engage for his concert some of the corps de l'Opera. The manager refused, unless the performance should take place in the Opera concert-room. Mr. Sale stated his case to his illustrious patroness, the Duchess of Kent, whose considerate, excellent reply, conveyed through Sir John Conroy, adds one more to the many proofs already given, of her royal highness's sense of justice, and of her good feeling towards the natives of the country of her adoption,-the country which gave birth to her only child, the presumptive heir of the British throne.

The following is a copy of Sir John Conroy's note:

Kensington Palace, 11th April, 1836. 'Sir John Conroy has laid Mr. Sale's request before the Duchess of Kent. Her Royal Highness was pleased to observe that, with every disposition to give that liberal support to the King's Theatre which would enable the lessee to provide the first foreign talent for the public, in return for the large receipts at that house, Her Royal Highness could not allow Her support, or sanction of certain arrangements, to interfere with, or press on, other establishments that are used for native talent,-which it is no less her duty than her most anxious desire to support.

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Sir John Conroy is, therefore, ordered to observe, that whatever concert will gratify the public, and carry with it Mr. Sale's just reward, will please the Duchess of Kent. 'J. B. Sale, Esq.'

MUSICAL FESTIVAL IN EXETER HALL. JUDGING from what comes within the sphere of our own observation, and from the report of persons who have bestowed some attention on the subject, we are led to conclude, that the number of those who deny this to be a musical country is rapidly on the decline. That the love of harmony is not so enthusiastic here as in Germany, we are ready to admit, but the admiration of it is with us of a sufficiently decided nature to justify us in considering ours as a musical nation. For it would be unreasonable indeed