above sensible letter. No "smarter flaggellation" is required. Truth has but to lift its head and falsehood takes to its heels. -Ed. M. W. BEETHOVEN'S RUINEN VON ATHEN. A writer in an American journal, Dwight's Boston Journal of Music, makes the following strictures upon our recent remarks on Beethoven's Masque, The Ruins of Athens. I am happy to lay these minute and very precise corrections before those who may have read my essay, and thus escape all possible chance of intentionally misleading them in any historical or technical particulars. I have this to urge in my own justification-that the account of the three overtures sent to our Philharmonic Society, was taken from Ferdinand Ries and Dr. Wegeler's "Biographical Notices of Beethoven," a very valuable collection of anecdotes; thus my conjecture as to the overture in C being one of these, was only offered as a conjecture; and that the account of the dramatic music having been discovered in the Pesth Theatre in 1843 or 1844, was received from the party who first introduced this music into England. That this music should have been publicly sold at Beethoven's death, that it should have been publicly performed in 1828, and that the beautiful parts of it should have been unknown so long after, but strengthens what I previously advanced; and that the work was never printed, and, for twenty years, never performed, makes it no matter of wonder that the discoverer of the theatre copy should have supposed he had found the only one. I must still feel it to be a curiosity in art that such beautiful things of so acknowledged a master as the few pieces I cited, should have been so long so little known; and I still find it a great peculiarity in Beethoven, that he should, to all appearance, have set so great a value upon so weak a composition as the overture to the work in question. G. A. MACFARREN. "Dwight's Journal to-day brings the conclusion of the article upon Die Ruinen von Athen, and, to my utter surprise, I find the name of G. A. Macfarren' attached to it as its author. Surprise, I say, because Macfarren's name occupies a high and well-earned position in the musical circles of England. Upon his criticism of the music of Die Ruinen I have nothing to say, but the historical introduction to the article is a fair subject of comment. "Is it more than just to require of any one who pretends to instruct, even though it be only in an article in a periodical, that he fully and carefully make himself master of all the authorities within his reach? Now Macfarren has not done this; for Schindler, to whom once in his article he refers, clears up some of his undetermined points, and the additions to Schindler, in the appendices to the English translation of his works, gives the necessary information upon others. The Harmonicon, of course, might have been consulted, and almost as assuredly might the writer have found a copy of Beethoven's Studien' in London. That we all are liable to mistakes, no one denies, for authorities differ, and not seldom are wrong, but every one touching upon historic ground is bound to consult the authorities. "Let us see whether the well-known works above mentioned will not clear up many of Mr. M.'s difficulties: op. third of the three overtures must have been the overture in C, op. 115, (See B.'s letter to Neate, Schindler, Vol. II. page 227.) Should you not have sent them (the three overtures) off, I should like to revise the overture in C major, as it may be somewhat incorrect.' "(2) With the exception of the march and chorus, Twine ye Garlands,' the dramatic music of the Ruins of Athens was, I have understood, discovered, some eight or nine years ago, in an unfrequented store-room of the Pesth theatre, where it had lain so entirely unheeded, since its first production, that its very existence had been forgotten.' "Where did Mr. M. understand that? Now see Schindler again, Vol. I, page 198; The third of October, 1822, the name-day of the Emperor Francis, was fixed for the opening of the new Theatre in the Josephstadt, on which occasion the music to Die Ruinen von Athen, which Beethoven wrote in 1812 for the opening of the New Theatre in Pesth, with a new text, adapted to time and place, by Carl Meisel, several new pieces, and a new overture, was to be performed.' Hadits very existence been forgotten'? Again, in the list published in Beethoven's Studien ' of the property sold at auction after the great composer's death, I find, lot 164, Ruinen von Athen,' under the head of original manuscripts left by L. von Beethoven, mostly perfect, written by his own hand, and not yet printed '-found in a stage room of the Pesth Theatre eight or nine years ago! From other sources than those which alone I shall quote in these notes to the article in question, I happen to know that all the music as soon as used was sent back to Beethoven. "(2) 'I can form but a very faint conjecture as to the period at which it was composed.' "The citation from Schindler above, says 1812. [Schindler would seem to have made a mistake of a few months in his date. me, dated Feb. 8, 1812. One sentence in it is being interpreted,' judging from a letter of B.'s, of which a manuscript copy lies before as I did not not receive the overtures from Hungary until yester day, that shall be copied as quickly as possible, and sent to you. Moreover, I will add a march and vocal chorus to them, also from the Ruins of Athens.] (5) And all this while the duet in G minor, the chorus in E minor, and the chorus in G, in this same Masque of the Ruins of Athens, compositions which even Beethoven never surpassed, remained still unknown, unplayed, save on the occasion of their original production.' "The citation under (2) is a sufficient reply to this, as that shows that they were produced on the 3d of October, 1822. "(4) Mr. M. speaks of John von Beethoven's sale of his brother's works unknown to the composer, &c. The passage in Ries (Schindler, Vol. II, page 256) refers to op. 124, and not to one of the three sent to the Philharmonic. In the same volume, page 272, is a letter to Ries, in which the overture in C, op. 115, is spoken of as not yet published. Now, as at this time (1825) the Philharmonic had not seen fit either to perform or publish either of the three overtures, might not Beethoven feel himself authorized to consider them as his property, and use them accordingly on the continent. [Op. 115, and op. 134, are reviewed in the German musical periodical 'Cæcilia,' in 1826, as if just published, the former by Steiner & Co. Vienna, the latter by Schott, of Mayence.] These are the principal points in the article from the Musical World, of a historic character, and they are all I care about noting; that the work as a whole is nothing very great, is true enough. Beethoven, like Webster, needed something to draw him out. When he had a task set him, as in this case, and when he wrote the Glorious Moment,' in honor of the Vienna Congress, the result was task work; but that the Philharmonic did not make a mistake as to two of three overtures sent them, can hardly be affirmed by any one who has read the history of that Society's 66 "(1) 'The overture was sent by Beethoven with two others--which I reception of Beethoven's 8th and 9th Symphonies. "'It is matter of very considerable wonder that Beethoven, who was most jealous of his reputation, should have submitted so weak a production to the public,' &c. "Beethoven himself, in a letter-not included, however, in the English works which the writer might have consulted-says, that the overture to the Ruinen is in a lighter (literally lesser) style, but that it is suited to a light miscellaneous concert, or something to that effect. Mr. M. thinks it no wonder that even Beethoven 1 should have produced an overture that is without merit.' Look they have appeared, they have created most unequivocal now at the circumstances. Beethoven is now towards the close sympathy, and conquered the suffrages and affections of all. of 1811-known as the greatest of composers. The people of At Marseilles, where Ernst was heard sixteen years ago, the Pesth, a principal city of Hungary, are to inaugurate their new two travellers met with a truly enthusiastic welcome. A proopera house, and apply to him to prepare the music for the occa-mise was hailed by the idolizing public (public idolatre) of a sion. A grand overture is required to do honour to King Stephen -St. Stephen-him whose iron crown disappeared when Kossuth fled an exile, and Hungary's liberty fell-an overture national in its character, and worthy of him whose name is still a name to conjure by with every Magyar. For this the overture in E flat, which the Philharmonic treated as they did the Eroica, the 7th and 8th Symphonies! which they thought unworthy of its author, but which, from that day to this, has not lost its charm for a Vienna, a Berlin, or a Leipsic audience. Besides this there was music to be composed to a little piece prepared as a mere show for the occasion-something to please the popular ear, something light and pleasing something, in comparison with the symphonies, like the piano forte bagatelles of the same composer, when compared with his wonderful sonatas. This Beethoven wrote; for the purpose it was good enough. It answered the purpose, and all parties were satisfied. Afterwards, on another and greater occasion, when he has to do honour to the reigning Emperor, this light overture is changed for one of his mightiest creations, the overture op. 124, and the music adapted to the new circumstances. "That Beethoven should have sent the feeble one to London, I can only account for by a reference to the pecuniary difficulties under which he was labouring just at that moment, when he had adopted his deceased brother's son, and was involved in the suit at law to keep possession of the boy against the wishes of the child's immoral mother." JULLIEN. The most prosperous and brilliant tour, which the great entrepreneur and spoiled child of the British public ever undertook in the provinces, is drawing to a close. On the 28th it terminates; Jullien will then have bid adieu to every one of his multitudinous friends throughout the length and breadth of the three kingdoms. Every city and every town of importance has been visited in succession, some of them twice. In Dublin, Edinburgh, Glasgow, Liverpool, Manchester, Birmingham, and the great emporiums of commerce in the north of England, Jullien's success has been, even for him, unprecedented. Had he been able to give up so much of his time, he might have staid at least a fortnight in every town. The thousands that flocked to his concerts, and overflowed the rooms, were only half the number that desired to be present. Those who were not lucky enough to gain an entry must wait until Jullien's return from the United States of America. The greatest feature at all the entertainments, we should state, has been the music arranged from Pietro il Grande. ERNST IN THE SOUTH OF FRANCE. The amateurs of serious art have retained too pleasant a remembrance of the soirées of music and declamation given at Lyons by Herr Ernst and Mademoiselle Siona Levy--not to follow with interest the peregrinations of the two eminent artists through the principal towns of the south. The accounts which we gather, from various sources, of the artistic excursion of Herr Ernst and Mademoiselle Lévy, represent it as an uninterrupted succession of triumphs. At Grenoble, at Marseilles, at Draguignan, at Grasse, at Nice; wherever, indeed, speedy return; and, indeed, Herr Ernst and Mademoiselle In After several concerts at Nice, which were attended with fresh ovations, the two artistes returned to Marseilles, in obedience, as we have hinted above, to the most pressing solicitations. Herr Ernst and Mademoiselle Siona Levy appeared to have taken up their head quarters in that city. the interval of the soirées, promised to the Marseillaise, they will make an excursion to Avignon, Nimes, Montpellier, and Toulon. They then propose to proceed to Paris, stopping at Bourdeaux and Toulouse on their way We felicitate not only Herr Ernst and Mademoiselle Lèvy, who, wherever they have travelled, have learned the secret of making themselves as much loved as admired: we are equally rejoiced for the art, the mission of which in these brilbeautiful they have helped to propagate; they have popularized liant successes has been nobly fulfilled. The love of the chefs-d'œuvres of taste; transformed the pleasure of the crowd into enjoyments of an elevated order, still more recommendable, since, of late, such entertainments have become very rare. Foreign. usual, at the Broadway, where she has been repeating Sonnambula and Cenerentola. She was to appear in Norma on Thursday evening, when it was expected she would surpass all her previous triumphs. The enthusiasm for Alboni is very great. In the street, in omnibusses, on ferry-boatseverywhere, her magnificent performances furnish themes of conversation in which all seem anxious to take a part; persons who are total strangers to each other grow quite friendly and confidential in discussing a subject which gives such keen and general pleasure. No one has ever before attained more solid, brilliant, and lasting success in Opera in this country. NEW YORK.-Madame Alboni has been successful as Paul Jullien grows more and more in public favour. He played lately, at the Philharmonic Society, the Witches' Dance with all the ease and grace of the most experienced artist. Paganini himself would have relaxed his habitually demoniac and inflexible frown, could he have witnessed the performance. BOSTON.-Alboni opens in Cenerentola on Monday evening. She will not have the assistance of the Germanians, as stated in another column, but will bring a picked orchestra from New York. Some idea may be had of the amount of attraction next week at the Howard Athanæum, when we state that the expenses of the Opera are 1500 dollars per night. Alfred Bunn, Esq., was never so busy in his life before. He has calls from all parts of the country to deliver his lectures. Next week he visits Newport. Mr. Bunn is making hosts of friends, and if he will only become naturalized, the sons of Momus will send him to Congress. BERLIN. JOACHIM'S FIRST APPEARANCE.-The second concert of the Sternsche Verein was rendered remarkable by the first appearance of the young violinist, Joseph Joachim. His name was already well known, but himself, his artistry, had yet to be appreciated. His birth-place is Pesth; he went early to Leipzig, where, as a boy, he was the favourite of Mendelssohn; was afterwards greatly distinguished by Liszt in Weimar, and is now Concert-master in Hanover. But his genius stands not in need of patronage. He came forward as one of those rare artists who in the performance of a few bars manifest the entire greatness of their genius. This it would scem impossible to do in a simple theme, or in some unimportant passages: but yet it is so. Joachim had not played twelve bars when the most joyful astonishment was shewn on every face. His soft, full tone, the charm of his phrasing, the exquisite refinement of his crescendo and decrescendo, in fact, the enchantment that it was to feel the presence of every quality that is desired in an artist, placed him at once in the first rank in our esteem, and proved him to be, perhaps, the greatest living performer on his instrument. The grand cadence that he introduced in the Beethoven concerto seemed to shew that he could also perform all the modern "tours de force" as well as, and better, than the best bravura players of our time. But he had already shewn a gift in which he is unrivalled, and therefore this test of his powers was hardly needed. His external appearance, the awkward, embarrassed way of presenting himself; the half-shy, half-sulky, and yet so winning physiognomy, all shew that the outward world hardly touches him; that it is his art alone which engrosses him entirely. Even his success-and of course he excited a storm of approval, which from the audience of these concerts, the most intelligent in Berlin, is saying a great deal-he received with indifference.-Suddeutsche Musik Zeitung. MESSINA. The Gazette Musicale di Napoli contains the following highly eulogistic notice of the debut of Mr. Charles Braham, son of our celebrated vocalist, at the Real Teatro di Santa Elisabetta, Messina :-" Braham possesses one of the most beautiful tenor voices of the day. His mezza voce is extremely sympathetic, his intonation perfect, and we doubt. not that he will soon be ranked amongst our very best singers. Having studied his art for three years in Italy, Braham attained his present excellence under the guidance of Maestro Gennaro Cajano, of Naples. Throughout the opera (Pacini's Maria Regina d'Inghilterra) he was very successful, and at the conclusion of his principal aria was recalled no less than three times. In Donizetti's Poliuto,' subsequently performed, Mr. Charles Braham sustained the chief character with equal honour." PHILADELPHIA.-PRESENTATION TO AUGUSTUS BRAHAM, ESQ., BY THE PHILHARMONIC SOCIETY.-Colonel Waterman, with the managers and several members of the Philharmonic Society, assembled at the office of the President to present Mr. Augustus Braham, the favourite tenor, with a mark of their esteem and regard, in the form of a very handsome walking-stick, made of India rubber, with the most perfect appearance of ebony (under the direction of John Thornly, Esq.), having a massive gold top, of great weight, most elaborately chased and finished, and inscribed on the top, "The Philharmonic Society, Philadelphia, to Augustus Braham, 1852." On Mr. Braham's arrival, Colonel Waterman arose and addressed to him a neat and appropriate speech, stating, amongst other things, that the pleasure he enjoyed was very great, as being the person chosen to present such a mark of esteem and regard from the society to one for whom they have such admiration, both in his public and private career, and trusted that when he was entering the vale of declining years, that this very stick would sustain and strengthen his steps, and recall to his recollection, in whatever country he might be, the friends he had left in Philadelphia. length; and finally, in the name of the society, presented Mr. Braham with the stick. Mr. B. was at the moment confounded, but instantly recovering his self-possession, turned to Colonel Waterman, and thus addressed him and the gentlemen present:-Mr. President and gentlemen of the Philharmonic Society, I hardly know how to give expression to my feelings so as to thank you in a proper and appropriate manner for the kindness and attention you have so universally shewn me in this city, and now for this very handsome gold stick have presented to me as a token of your esteem and regard. I assure you, Mr. President and gentlemen, I shall treasure it as a memento of the City of Brotherly Love, and trust that will incite me to fresh exertions in the profession I have chosen, as well as keep alive kind feelings of affectionate regard, and remembrance of the friends who dwell in this favoured spot. I could expatiate for hours on this.theme were I allowed to sing my thoughts, but as to speaking I feel I have not the power to say more than that I most sincerely and heartily thank you all for the kind interest you have taken in my welfare-for the enthusiastic reception I invariably receive (far more than I deserve)-and now for the costly present you have made me, which shall be handed down to my children after me, as a proud proof of the esteem and regard in which their father was held by the Philharmonic Society of Philadelphia.-Philadelphia Sun. Colonel W. continued his address at some MUSIC AT MANCHESTER. (From our own Correspondent.). you Again we had Molique and Piatti as Charles Halle's masterly co-executants-and again we had some 70 members of the Liedertafel to sing German vocal quartets; consequently there was a firstrate concert, so far as performance. The selection, too, was of a high character-if not the highest; yet some way, there was not that warmth or enthusiasm that we have seen at some of the former concerts this season. The execution of some movements of the first trio, and the sonata, was so perfect, as to elicit loudly murmured bravis, and occasionally a round of applause; still there were no encores, and there was no excitement. Hallè's audience is an educated one-nine-tenths of it have attended his chamber fifth of the series-on Saturday last-they were suddenly closed, H. B. Peacock, Esq., the clever and spirited proprietor of these concerts now for years, and if any members of it had ever lacked a taste for the classical, they must by this time have acquired one; so are capable of appreciating and doing justice to a concert that would have been "caviare to a general" audience. The analytical programme makes a very nice and just discrimination betwixt the instrumental chamber music of Schubert and that of the greater writers in the same school, allowing all merit to Schubert for his beautiful ideas, so melodiously scattered over the two trios-we have heard, but scarcely doing justice, we think, to the peculiar tact and talent shown by Schubert in them both-in bringing out each instrument in turn, and yet blending them so well together. The trio done at Hallè's concert, as above, is the one he first introduced to a Manchester audience some season or two back, at the Assembly Rooms, and which we have frequently spoken of in high terms; for melody, invention, and clearness of design, it is remarkably excellent. In such hands as those of Hallè, Molique, and Piatti, Schubert's Trio (Op. 100) was a great treat. We do not remember to have ever heard it so well done, or to have heard any one of the three artists better. Halle's young countrymen of the Liedertafel then came on the platform, and gave two specimens of their part-singing, "Mahnung," (Warning) by Lindpaintner, and "Wanderlied," (or Wandering Song) by Mendelssohn, entirely unaccompanied; but the time marked by Halle, with the beat of his hand and arm-save one unlucky harsh chord (or rather discord) in the second piece-the performances of these amateurs were perfect; the rich harmonies, the swell, and the diminished pianos, are very fine when given by such a number of male voices, and with such effect. Beethoven's Sonata (Op. 30, No. 2), one of the most refined and elegant of his duo sonatas, for violin and pianoforte, was another great treat-perhaps the greatest of the night to the more enlightened hearers. It was splen-Free Trade Hall, at the very moderate charges of 3s., 2s., and 1s. didly played by Hallè and Molique-the latter was in a happy vein, and gave all those delicate graces and nuances of expression that are felt by the listener who is at all familiar with the music, but cannot be described. After the elaboration of the "allegro,' and the eloquence of the "adagio"-the truly playful Scherzo and Trio was quite refreshing, and enabled us the better to enjoy the full and impassioned finale. The first part of the concert was much the best. Beethoven's Trio (Op. 1, No. 2), which opened the second part, is more interesting, as the early production of one whose genius afterwards soared to so much higher flights; its ideas are more on the surface, and do not contain such profundity and sublimity as his later works of this class; the Scherzo and its trio are quaint and humorous to a degree, and the finale lively to exuberance, as Mr. Macfarren so justly observed in his analysis. Still we did not feel raised or elevated, as we usually do, on listening to a work of this mighty master. The Liedertafel gave another of their vocal quartets, by Lenz, very effectively, which was followed by a most masterly display on the violoncello, by Piatti, in a piece of Romberg's, entitled "Le Reve," (the Dream,) which surpassed any solo performance we remember on that instrument, for graceful facility of execution and exquisite beauty of tone. Piatti was loudly applauded. Hallè wound up with two mazurkas of Chopin's (which to our taste were more singular than beautiful), which were treated as such trifles are by the hand of a master like Charles Hallè. Musical affairs in Manchester have been growing to a climax of late, until we fear the supply has somewhat outstripped the demand and support which really has been most generously and liberally exhibited this winter in Manchester generally. Mr. Banks's benefit, at the Free-Trade Hall, was the crowning event of the season at the Monday night concerts. Since then, Mr. Perring's benefit would, doubtless, leave him something, after paying expenses; and Miss Louisa Vinning's benefit, on Monday fast, although there was a highly respectable audience, was not by any means a bumper. This is the more remarkable, as she is so very popular, and has been quite the pet of the season. The most signal failure has been that of Mr. E. W. Thomas's concert. The series of ten Promenade Instrumental Concerts advertised-with the same excellent orchestra as at Liverpool, with Madame D'Anterney as vocalist, Zerbini as leader, Thomas, conductor, Streather at the harp, Lazarus, clarionet, as soloist, and about 50 of a band-attracted such miserably poor audiences, that on the "A festival for the people," of five nights, is to be held in the each for admission. Five grand concerts are to be given, all widely differing in character, and for which a host of talent is engaged-Mrs. A. Newton, Miss Milner, Miss Louisa Vinning, and Miss Fanny Huddart; Messrs. Sims Reeves, Perring, Dela vanti, and Winn; Solo, flute, Mr. Richardson; Solo, trombone, Herr Nabich; Solo, pianist, Heinrich Werner; Conductor, D. W. Banks; and with an augmented chorus-a band and full orchestral accompaniments. The first concert, on Wednesday next, will consist of a miscellaneous selection from Italian and English operas; at the second, on Thursday, there will be a selection from the oratorios of Sampson, Elijah, Judas Maccabæus, &c. &c. Friday will be devoted to the works of Sir Henry Bishop (always a great favourite in Manchester), and he will be engaged to come down from London that evening, specially to act as conductor of his own compositions; the programme, too, we are told, will be of his own selection. Saturday will have its selection of National Ballads; whilst Monday will close the performances with a selection from the most favourite German operas, and that will be the last performance in the present Free-Trade Hall. There is variety enough to satisfy all tastes; and quantity, as well as quality, to suffice for a long parting, which is soon to follow the pulling down and rebuilding the hall. For six months, at least, Manchester will possess no room suitable for concerts, on any such scale of magnitude. We hope Mr. Peacock will not only be reimbursed the inevitably large cost of such an undertaking, but that he will clear a few hundred pounds by it. It is Mr. J. Thorne Harris had a bumper, as we expected, at the Athenæum Library Hall, on Tuesday last, when the tributary amateur concert came off with great spirit and eclât. scarcely fair to criticise the performances of a party of ladies and gentlemen, mostly amateurs, when devoted to such a kind and praiseworthy object; but even if it were, we should have to speak warmly in their praise. The lady soloists would have succeeded admirably, with a little more courage; as it was, and despite their timidity, five of them were encored in their songs. The gentlemen, we doubt not, would have been more at home, and heard to greater advantage, in a private room; they have both excellent voices, and they acquitted themselves very well; the first, in a quiet song, by C. E. Kay, "The summer bloom;" the other, in Rockstro's song, "The reaper," which is spirited enough. The choruses were really admirably sung, by about twenty voices; several of them were by Mendelssohn, from Ewer and Co,'s col lection of German Glees, called the "Orpheus," which were all beautiful; and one by Härtel, called "The miller's daughter," was very pleasing. Mr. Harris must have drilled his friends well, to give such precision and effect to their pianos and fortes in these choral gems. The instrumental (amateur) portion of the concert was chiefly confined to two or three pieces, for brass instruments, exceedingly well given by first and second cornet, and first and second Sax-horns. Mr. Thorne Harris himself conducted, and gave also two solos on his instrument, the pianoforte-Henselt's, from Robert le Diable; and Thalberg's prayer, from the Mosè. The concert was a little too long; one solo, Ernst's Elegie, for the violin. it would have been as well to have left; still it passed off very satisfactorily, and must have been highly gratifying to Mr J. Thorne Harris. MUSICAL INSTITUTE OF LONDON. Saturday, February 12th. THE REV. MR. NICOLAY IN THE CHAIR. A Paper was read by Mr. Thomas Oliphant on "Musical Facts and Fallacies," which he illustrated by reference to Henry Carey, the "facts and fallacies" of whose life and works formed the subject of the present lecture. In a biographical sketch it is stated that Carey died at the age of 80, leaving four small children, a "fact" so doubtful that Mr. Oliphant unhesitatingly placed it in his list of "fallacies.' From evidence of various kinds, the lecturer concluded that Carey was between fifty and sixty years of age at the time of his death. Several of his ballads (both words and music being his own composition) were sung by Mr. Benson and Miss Taylor, and a curious contrast was afforded by comparing the original harmonies of these old songs with those fitted by modern composers. Carey is best known to the amateurs of the present day by his ballad of "Salley in our Alley," though she has undergone such a metamorphose at the hands of singers and adapters that her author would now hardly recognise his own Salley. [Query-is not Henry Carey better known to amateurs by his "O Nannie." ED.] rooms. HERR ERNST PAUER'S SOIREES. Herr Pauer gave the first of a series of three performances of classical chamber music, on Wednesday night, in Willis's His programme was extremely interesting, comprising a new work of importance, besides some pieces so rarely played that they were almost as good as novelties. Among these was Hummel's sonata, for pianoforte solo, in F sharp minor, to which the composer himself affixed the epithet fantasia, and with justice, since the three movements are almost entirely made up of bravura passages. As a mere study this sonata is of the highest utility, and, in such a light, it has every right to be accepted as the work of a master. But in musical beauty, intrinsically speaking, it is singularly deficient, the last movement, which is remarkably energetic, alone offering any evidence of the feu sacré, with which Hummelwith all his merit, only a composer of the second class-was not infrequently endowed. Herr Pauer executed the sonata-fantasia, which abounds in excessive difficulties, with admirable facility. As a performance, Han lel's second concerto, arranged by Herr Pauer as a pianoforte solo, was equally successful; but, in a musical point of view, it was not calculated to raise the slighest interest, since it belongs to that prodigious quantity of works from the pen of the author of the Messiah which have no distinctive quality beyond that of fluency. We are, therefore, compelled to think that the arrangement, which must have cost Herr Pauer both time and pains, involved serious waste of both. Such things are only valuable as reference to dates, periods, and varied on a ground bass) we have spoken before. It is a Of Herr Pauer's Passacaille (an air particular occasions. composition of decided merit, improves on a second hearing, and was played to perfection. We could hardly think so well of Mendelssohn's Andante and Rondo Capriccioso, in E. The second movement was taken by Herr Pauer at a speed that was literally impossible to sustain, and the consequence was a general want of clearness and unity. Beethoven's simple and melodious andante in F, an isolated movement, was charmingly played, and afforded Herr Pauer an opportunity of proving that, in addition to the mechanical, he possessed the expressive qualities which should belong to a pianist of the first class. The feature, and the chief novelty, of the evening was a sonata, for pianoforte and violoncello, composed by Herr Pauer for the occasion. In the present dearth of new works of this high character, one from the pen of so thorough a musician, and so true an enthusiast, must be regarded as a bonus. Herr Pauer's sonata is certainly not of the calibre of Beethoven and Mendelssohn, but it is so well planned, and written with such care and intelligence, that it cannot fail to please musicians, while its brilliancy and its effective passages for the violoncello will be sure to win the suffrages of amateurs. A single hearing gave us the impression that the best movements were the first allegro and the minuetto (in the trio of which there is an effect of combination between the two instruments equally novel and charming), but there were many passages both in the andantino and the finale, which created a wish to have a second opportunity of judging of the composition. The performance, by Signor Piatti and the composer was beyond criticism, and the verdict of the audience was unanimously favourable. The concert was varied by two songs of Stradella and Blumenthal. Miss Dolby, the vocalist, was equally at home in the music of the ancient and modern composer. Herr Blumenthal's song, "Die sonne brannte," which has all the requisites of popularity, was accompanied on the pianoforte by the composer. There was also a violoncello solo by Signor Piatti, a and fullness of tone which no other contemporary player can marvellous display of executive skill, combined with a beauty boast. The concert terminated effectively with a very fine performance of Mozart's splendid fantasia in players, by Mr. Sterndale Bennett and Herr Pauer. The excite the greatest interest from the first to the last.—Times, room was fashionably attended, and the music appeared to MADAME PLEYEL. (From the Bristol Mercury.) On Tuesday evening, Mr. Harrison, of Clifton, gave a grand musical residents of Bristol and Clifton to see and hear Madame concert at the Victoria Rooms, for the purpose of enabling the Pleyel. There was a numerous attendance, the room being crowded from end to end with the élite of our neighbourhood. So much had been said and written of the powers of this gifted artist, that expectation was naturally raised to its highest point, and it is no mean tribute to Madame Pleyel to say that although her audience comprised the best musical executants we have resident amongst us, she, as far as we could gather, fully realized the anticiwhat one would idealize as the perfection of pianoforte playing, pations of the most sanguine, approaching as nearly as possible to To handsome features and a commanding person Madame Pleyel superadds a physical formation of the hand and wrist peculiarly adapted to the purposes of her art. She grasps, as it were, the entire key-board and holds it completely at command. Her touch |