thoughts, are strikingly manifest throughout the work. The adagio (in the minor key) resembles the fantastic imagery of an oppressive dream. The abrupt and formless phrases that start from the stringed instruments, with the sustained tremolo of the pianforte, unquestionably give to the whole an effect not unlike the "thoughts unnatural" that visit us in disturbed sleep. Beethoven, on being asked whence he drew the inspiration of one of his sonatas, replied -"Read Shakspeare's Tempest." If the reader would have a clue to the inspiration of this adagio, he might possibly find a very good one in the ghost scenes in the Corsican Brothers. The performance of the trio throughout, was irreproachable. Miss Binfield Williams, by her faultless execution, at a very short notice, of the difficult and elaborate pianoforte part, proved her sound musicianship, as clearly as she afterwards showed her firm and brilliant touch, in Mendelssohn's fantasia in E minor, for which she very nearly obtained an encore. Few things can be more opposed to this trio in design and treatment, than Mendelssohn's quartet in B flat (op. 12) which concluded the first act. The inimitable Minuet (canzonetta) with its quaint martial character and rhythm, was encored. We wonder the military bands have not plundered and "arranged" it. Miss Alleyne sang Pacini's well-known recitative and aria," Il soave bel contento," which Pasta made so popular. It was exceedingly well sung by the fair and talented artist. Miss Alleyne was still more happy in Mendelssohn's "Thro' the woods," which was still more admirably sung and very warmly applauded. Onslow's quintet, in G minor (op. 17, No. 14,), we believe pretty well known. It is of a mixed character, containing much that is beautiful, not unmingled, however with the pedantry and mannerism laid with some justice to the writer's charge. The last concert will take place on the 21st.

MR. T. WILLIAMS'S NEW ENTERTAINMENT, "ENGLISH MUSIC AND ENGLISH MUSICIANS," CAMBERWELL HALL.-On Tuesday evening, the 22nd ult., Mr. Thomas Williams delivered at the above concert room, an entertainment which he has for some time past been giving in the provinces. The success it met with on this occasion, fully justified the high praise which has been bestowed upon it by the provincial press. The fundamental idea of this "Entertainment," is the analysis and illustration of modern English operatic compositions; and while this object is steadily adhered to throughout, a most agreeable variety is imparted to the ensemble by the original anecdotes, amusing reminiscences, and lively commentary which are scattered throughout the entertainment with a profusion savouring almost of prodigality. A vein of quiet play ful satire pervades the whole, which was rendered the more effective by the utter absence of pretence, which characterises Mr. Williams's delivery. The division of the entertainment entitled “Notes of a Musical Tour with Madlle. Jenny Lind," proved especially successful; the highly humorous anecdotes therein introduced calling forth shouts of laughter from the audience. In the vocal illustrations

tions." The entertainment was thoroughly appreciated and heartily applauded throughout, by a numerous and highly respectable audience.-(From a Correspondent).

HERR HOLZEL, the well-known singer and composer, is on his road to London, to fulfil his numerous engagements here. He brings a portfolio full of new songs, and will sing them too-as few beside can, with that unaffected, touching sentiment, which gained for him such a favourable position amongst our concert singers; he shall be welcome,

SWIFT, THE ENGLISH TENOR.-The Portuguese papers speak in terms of high praise of our English tenor, who has been starring at the opera at Lisbon for the last four months. Mr. Swift will pay a visit to the metropolis later in the season.

MADEMOISELLE DE STANDACH, & pianiste of the Vienna School, who has been performing at the Gewand-haus concerts at the Court of Prussia, and lately at Paris, with much success, intends to visit London this season. If report speaks true, she is a very distinguished performer.

MADAME DORIA, Miss Fitzwilliam, Mr. Sims Reeves, and other artists, will appear at Allcroft's concerts, at Exeter Hall, and at Sadler's Wells Theatre, on the 21st instant.

OLYMPIC THEATRE.--This favourite resort of public amusement has been taken for Passion Week by some well-known parties, for the purpose of giving a series of concerts of a mixed nature. The management of the musical department will be entrusted to Mr. George Tedder; and, judging from the vocalists engaged, the enterprise will doubtless prove profitable.

M. ALEXANDRE BILLET'S THIRD EVENING CONCERT, announced for Wednesday, the 16th inst, is unavoidably postponed to Thursday, the 17th.

MR. BRAHAM, with his son, Ward, is rusticating at Boulogne. The glorious veteran is in the enjoyment of excellent health and spirits.

MR. N. J. SPORLE, the well-known vocalist and ballad-composer, died on the 2nd instant, at the age of forty-one years. MR. ROBERT WILLIAMS, for many years organist of St. Andrew's-by-the-Wardrobe and St. Anne's, Blackfriars, died on the 5th inst. at his residence, Epsom.

MR. JOHN W. ROE, the vocalist, died last week at Hove, near Brighton.

MR. HENRY GATTIE, the violinist, died recently after a long

illness.

NEVER FAILING REMEDY.

HOLLOWAY'S OINTMENT.

Williams. The latter young lady possesses a pure and sympathetic mezzo-soprano voice of most agreeable quality. She was rapturously encored in Wallace's charming ballad, "Why do I weep for thee ?" an honour which was also conferred on Glover's duet "The Cousins," sung by Miss B. Williams and Miss Julia Bleaden, the latter of whom received great applause for her chaste and feeling delivery of Macfarren's song, "Ah! why do we love ?" The quaint little trio, by Bishop, entitled "Sportive little trifler," received a similar mark of approbation from the audience, by whom it was unanimously encored. In addition to the songs specified in the programme, Mr. T. Williams introduced the aria and recitation from "Ernani," "Infelice, e tu credevi," which he sang with an earnestness and intensity which were warmly appreciated by the audience. Mr. Williams possesses a powerful and well trained bass voice, distinguished by a sympathetic quality seldom met with in this class of organ. Between the parts of the "Entertainment," Mr. F. Osborne Williams performed Schulhoff's "Carnival de Venise," with a combination of brilliancy and firmness which won for him the heartiest encore of the evening. The entertainment concluded with a graphic and highly humorous comparison between a "modern soirée musicale," with its "florid bravuras" and grand fantasias," and an "old fashioned evening party," with its "Alice Grays," "Battle of Prague," and "Swiss Boys with varia

ERTAIN Remedy for Scorbutic Humours, and an astonishing Among the numerous cures effected by the use of your valuable medicines in this from Messrs. Walker and Co., Chemists, Bath. To Professor Holloway, dear Sir, neighbourhood, we may mention that of an old lady living in the village of Preston, about five miles from this city. She had ulcerated wounds in her leg for many years and lately they increased to such an alarming extent as to defy all the usual reIn this

medies; her health rapidly giving way under the suffering she endured.

distressing condition she had recourse to your Ointment and Pills, and by the assistance of her friends, was enabled to persevere in their use, until she received a perfect cure. We have ourselves been greatly astonished at the effect on so old a person, she being above 70 years of age. We shall be happy to satisfy any enquiries as to the authenticity of this really wonderful case, either personally or by letter. A private in the Bath Police Force, also, has been perfectly cured of an old seor butic affection in the face, after all other means had failed. He states that it is entirely by the use of your Ointment, and speaks loudly in its praise. We remain, dear Sir, your's faithfully, (Signed) WALKER & Co.

April 6th, 1852.

ROYAL ITALIAN OPERA, COVENT GARDEN.

THE DIRECTORS of the ROYAL ITALIAN OPERA beg

most respectfully to inform the Nobility, Gentry, Subscribers, and the Public that the Season will commence on TUESDAY, MARCH 29. Full particulars will be duly announced.

SACRED HARMONIC SOCIETY, EXETER HALL.

CONDUCTOR, MR COSTA.-On FRIDAY, MARCH 18, will

be again performed, MENDELSSOHN'S HYMN OF PRAISE, and MOZART'S REQUIEM. Vocalists-Miss Birch, Miss M. Williams, Mr. Lockey, and Mr. Lawler. The orchestra, the most extensive available in Exeter Hall, will consist of (including 16 double basses) nearly 700 performers. Tickets, 5s. and 10s. 6d. each, may be had at the Society's office, No. 6, in Exeter Hall.

NORDMANN'S

GHOST SCENE

FROM THE

CONDUCTOR, MR. COSTA.-The customary performance of

HANDEL'S MESSIAH in Passion Week is fixed for WEDNESDAY, MARCH 23. Tickets are now ready, and may be had at the Society's office, No. 6, in Exeter Hall. Vocalists already engaged-Miss Louisa Fyne, Miss Dolby, and Mr. Sims Reeves.

FOR THE PIANO,

LONDON SACRED HARMONIC SOCIETY,

EXETER HALL CONDUCTOR, MR. SURMAN, Founder,

and Twenty Years Conductor of the Exeter Hall Oratorios. On the THURSDAY in Passion Week, March the 24th, Handel's MESSIAH, Principal vocalistsMiss Louisa Pyne, Miss Stabbach, Miss M. Williams, Miss Clara Henderson, Mr. Lockey and Mr. Lawler. Leader, Mr. H. Blagrove; Organist, Mr. T. Jolley. The Band and Chorus will consist of nearly 800 performers. Tickets, 38., 5s., a d 10s. 6d. each, to be had at the same prices on the day of performance. The Subscription to the Society is One, Two, or Three Guineas annually, Four Tickets for this evening, with a valuable musical present from the conductor. The Oratorio Handbook, containing the words of the Messiah, and sixteen pages of the music, price 6d., only Office of the Society, No. 9, Exeter Hall.

PHILHARMONIC SOCIETY.

THE HE Subscribers and the Public are respectfully informed that the FIRST CONCERT of the Season will take place at the HANOVER SQUARE ROOMS on MONDAY EVENING NEXT, the 14th inst. ProgrammeSymphony in A minor, Gade; Concerto. pianoforte, in G minor, Mrs. F. B. Jewson (late Miss Anderson Kirkham), Mendelssohn; Overture in C, Op. 124, Beethoven; Sinfonia Eroica, Beethoven; Trio, two violoncellos and contra-basso, Messrs. Lucas, Hancock, and Howell, Correlli; Overture, Berg-geist, Spohr. Vocal performersMadame Castellan, and Miss Dolby. Conductor, Mr. Costa. To commence at Eight o'clock. Subscription for the Season, £4 4s.; Single Tickets, £1 1s.; Double Tickets, £1 10s.; Triple Tickets, £2 5s.; to be had at Messrs. Addison & Hollier's, 210, Regent street.

THE

MUSICAL WINTER EVENING.

THE FOURTH and LAST-THURSDAY, MARCH 17th, WILLIS'S ROOMS. Quintet, Spohr; Quintet, E flat, Op. 44, pianoforte, &c., Schumann; Quartet, Mendelssohn; Sonata. Solos, pianoforte. Executants: Molique, Mellon, Goffrié, Webb, and Piatti, Pianist, Mile. Clauss. Vocalist, Madame Doria.

PRICE 2s. 6d.

LONDON: BOOSEY & SONS, 28, HOLLES STREET.

Under the Patronage of Her Grace the Duchess of Sutherland, and the Most Noble the Marchioness of Camden.

MRS. JOHN MACFARREN

HAS the honour to announce that her TWO MATINEES of

PIANOFORTE and VOCAL MUSIC will take place at the NEW BEETHOVEN ROOMS, 27, Queen Anne-street, on SATURDAYS. May 7 and June 4th, at Three o'clock, when she will be assisted by Mr. W. H. Holmes, M. Sainton, Signor Piatti, M. Rousselot, Signor Bottesini, and by eminent vocalists, who will be an nounced forthwith.

84, Stanhope-street, Mornington Crescent.

Just Published,

GRAND VALSE DI BRAVURA

delay in the beginning. Extra non-reserved seats will be provided for visitors with tickets, at 7s. each, to be had of Cramer and Co.

J. ELLA, Director.

Musical Union Members are requested to pay their subscription due for 1853. The tickets will be sent forthwith.

MR. H. BLAGROVE'S VIOLIN SOIREES,

'O take place at 71, MORTIMER STREET, on WEDNESDAY

include Selections from the works of the great Violin Composers, some Classical concerted Music, with eminent Vocal and Instrumental talent. Particulars to be had of Mr. H. Blagrove, 18, Alfred Place, Bedford Square, at the Rooms, and principal Music shops.

MR. AND MRS. SCARSBROOK

BEG to acquaint their pupilla, tveir friends that they have EG to acquaint their Pupils and their Friends that they have they will resume their Lessons on the Pianoforte, Singing, and Harmony.

of the Royal Academy of Music, price 3s. This elegant Valse is admirably calculated for the concert or drawing room. Cramer, Beale, & Co., 201, Regent-street.

£35 0

} £12 12

£10 10 £12 12

1. Each Subscriber, on purchasing a Ticket of admission for the Concert, will, at the same time, be presented with a separate numbered Ticket; and the above valuable Presents will be awarded to any person holding the corresponding numbers to those drawn, and will be given to them on delivering up their numbered Tickets, the day after the Concert, or within six months from the date of the Concert, at H. Distin's Musical Instrument Manufactory, 31, Cranbourn-street, London.

2. The number of Tickets will be limited to 1000; and the 100 Presents will be drawn for at the conclusion of the Concert. The Drawing to be under the entire control of a committee to be chosen by the audience.

3. Immediately after the 100 Presents are drawn, the audience can satisfy themselves of the issue, by comparing the numbers of their Tickets, with those written down by the committee as they are drawn.

4. The smaller presents are given for the purpose of circulating the larger ones, so that the drawing may continue till the 100 Presents are drawn out. The first 100 Ticket-numbers drawn will comprise the whole of the Presents; the drawing being then over, all Tickets remaining undrawn will not be entitled to any Present.

5. For the convenience of persons living in the Provinces, or at a distance, Tickets will be sent on receipt of a Post-office Order. payable to Henry Distin, on Charing Cross Post Office; or the amount in Stamps. At the same time, a stamped envelope, with full name and address, must be enclosed, which will meet with immediate attention.

6. The Public are informed, that should Ticket-holders not be able to attend the Concert personally, they may give away their Tickets of admission to the Concert, and retain their NumberTicket, which will entitle them to any Presents that may fall to their corresponding numbers. At the same time, H. Distin begs to state that it is not absolutely necessary that a Subscriber should give away his Ticket, if he cannot attend the Concert, as he will, at any rate, be entitled to a chance of gaining one of the 100 Presents; and he may know the result the day after the Concert, by applying to H. Distin for a printed list of the Presents drawn, and the numbers gaining them.

7. The Concert will take place at the Princess's Concert Room, and one week's notice of the Evening will be given by advertisement in the "Illustrated London News" and "Sunday Times," as soon as the Subscription is filled up.

No. 12.-VOL. XXXI.

THE PHILHARMONIC SOCIETIES. Both these great societies have commenced proceedings for the season-the old on Monday, at Hanover Square, the young at Exeter Hall, on Wednesday. Our usual reporter of these matters being unavoidably absent in Paris, we are compelled to adopt the notices of a contemporary, which are comprehensive and to the purpose. Next week, however, we have much to say abont the Philharmonics, which we propose to say in a leading article.

D. R.

THE ATHENÆUM AND THE MUSICAL UNION. The following unaccountable attack upon the energetic director of The Musical Union and Musical Winter Evenings, appeared in the harmonious columns of the Athenæum, last Saturday:

"In making his engagements for the Musical Union this year, we perceive that Mr. Ella has adopted the principle contended for in the Athenæum from the hour that music was taken in hand by it, and has entirely remodelled his society, as regards its distinctive features,-namely, the variety of readings of classical music given by a constant change of leaders. He is "happy to announce" that he has secured M. Vieuxtemps, with Mr. Hill and Signor Piatti, at the Musical Union, " for the whole season, with the tacit understanding of conceding a Matinée to any NEW violinist who has never appeared in England,"--thus shutting the door against MM. Molique, Sivori, Ernst and David, which last violinist had, last autumn, the intention of revisiting London. Now, while we look with interest to the performances of a quartet, systematically trained by M. Vieuxtemps, and are satisfied, in its favour, to relinquish the unsettlement of constant novelty,--we cannot but point out that in one, Mr. Ella, who professes to educate his pupil patrons by talking to them, as well as by catering for them, such an utter abandonment of the very system which he has again and again set forth as the life, soul, and spirit of the Musical Union, (quoting M. Berlioz, in support of his self-admiration), is more comical than consolatory. The combination of concert-praiser and concertgiver in one, which he has introduced into our music-rooms, claims notice, this week, on another ground. In the analytical programme of Mr. Ella's last Winter Evening, we were favoured with preludes, in honour of M. Haberbier, a pianist, who is engaged for the first meeting of Mr. Ella's Musical Union :-These were, certificates extracted from the Parisian journals (one by the very M. Berlioz

who so admired the perpetual change of quartet leaders), with a more mystical testimonial from "a lady amateur pianist, one of the most brilliant performers in London." M. Haberbier, we are told, has discovered a new method of fingering, and Mr. Ella puts him forward as one whom he "is disposed to believe an

Price Fourpence. Stamped Fivepence.

artist of superior attainments." Now we, too, have heard of M. Haberbier, and have glanced at his "Méthode," but being aware of his coming visit to England, we felt it only fair to allow his fingers to speak for himself and his discoveries ere we offered any opinion concerning the one or the other. Mr. Ella is less considerate, and must therefore be reminded, that, however advantageous it may be in him to enhance the value and curiosity of the artists whom he engages by "puffs preliminary," he cannot, when so doing, escape the common lot. The practice of every man writing a little book concerning his own concert is no more elegant or æsthetic than the devices of Messrs. Packwood, Warren, and Moses, in support of their razors, their jet polish, and their delicious apparels, over which intellectual and ingenious persons have so long been used to make merry. It is one thing to note down the motivi or progressions of an unfamiliar composition, in aid of the ill-assured listener,-it is another to say "Pray, Ladies and Lords! try my Trio player!" All such attempts to bespeak good opinion on the part of those having a ware which they are about to produce are to be denounced as unwholesome; whether the speculator be playing for the vast stakes of an opera-house, or for the little ones of a "chamber concert for the aristocracy." What was objectionable in Mr. Lumley, does not become admirable because Mr. Ella does it in his own 'Record' of his intentions and proceedings."

formers.

66

The (ante-vol. —, page, &c.,) which so often finds its way into the musical columns of the Athenæum, when the critic refers to his former decisions with self-satisfied complacency, is much the same thing, reversed, as Mr. Ella's prophetic puffs in anticipation of the triumphs of his perMr. Ella has engaged Haberbier for the Musical Union; why then should he cry unsavoury salmon!" by abusing him in prospectu (in his prospectus)? Mr. Eila is not such a noodle. He says that his salmon is good, or he would not bring it to the market. Haberbier is his salmon, and as the aristocratic habitues of the Musical Union have not yet tasted him, Mr. Ella prudently, and with confidence, informs them that he is a very good fish, and may be swallowed without sauce. The Athenæum has no right to grumble. Let the Athenæum look at home, before it sets about abusing its neighbours. As for Haberbier, we know him well, and can assure those whom it may concern, that he is a very odd fish, a new kind of fish. He plays chromatic scales as no one ever played them before, and as no one is likely ever to play them again, of which the aristocratic habituès of the Musical Union will have an opportunity of judging at the first sitting.

The non-change of leaders is another matter. If Ernst comes, Mr. Ella will probably change both his mind and his

lender, for a couple of sittings at least. If Mr. Ellla does not change his mind and his leader, for at least a couple of sittings, he must bear the loss with composure, and write about the "breadth of tone, &c., &c.," of his "perpetual." The Athenæum, with all its ill-will, cannot deny the "breadth of tone, &c.," without denying the truth, and this would be tantamount to lying, of which the Athenaeum is incapable, even in metaphor.

We are at a loss to explain the sudden hostility of the literary journal, which, ere now, has been so meek. The Director of the Musical Union, however, threw out a sop on Thursday, in the shape of a hideous quintet by Robert Schumann - a ---an intimate protegée of Franz Liszt, who stands up manfully for the ugliest music he can find, and who has found Wagner and Schumann, Richard and Robert, the Siamese Twins of modern aesthetic art (asthetics !—what a fine synonyme for rhodomontade !), ready and willing to furnish him with as much as he wants, presto and scherzando, though not ready nor able to put their heads close together, and make up the first bar of a presto scherzando like poor Mendelssohn's). The sop-quintet in E flat was doubtless thrown out to conciliate the Athenæum, which, being of the Leipzic party, and an advocate of "they four" (Ezekiel), does not want the Reformation Symphony of Mendelssohn, and consequently craves for the sthetics, which are now doing so much to make music mysterious, not melodious, horrible not harmonious. The sop will soapen the Athenæum, and in the next number, the Director of the Musical Union will be apostroplished as a cumini sector instead of being mythicised as a Midas. Take courage, Mr. Ella, go on with Schumann. Engage Wagner to write a quadruple-quatuor; and though you must sacrifice your performers on the altar of Bel, (poor little Wilhelmine Clauss, we never sympathised with you so much as when your little finger and your large soul were vainly striving to make music of such miserable mummery,) the steam of their entrails will be a peace-offering to the false god, who now sits on a throne at Leipzic, and the odour will be welcome to the nostrils of the Athenæum.

Moreover, the music of Schumann brings with it a second and a still greater advantage. It acts as a foil to that of the other composers. Not to speak of Mendelssohn, (the comparison would be "odorous,") the Bohemian melodies of Goldberg, the Guttenburgian, after the purgatory of the quintet, were as the first glimpse of Heaven to a pardoned sinner, and the fair and comely Doria, from whose pouting lips they flowed so glibly, as theministering angel, to lead the way to Paradise. The effect of contrast was never more delicious.

BEETHOVEN'S EGMONT.

(From the New Philharmonic Programme.) The music which Beethoven composed for Goethe's celebrated tragedy of Egmont comprises an overture, in F minor; a song, in the same key, for Clärchen, "Die Trommel

gerühret," an interlude, or entr'acte, for the orchestra, in A; a second interlude in E flat; a song for Clärchen in A, "Freudvoll und Leidvoll"; a third orchestral interlude, including a march, in C; a fourth beginning in C minor and ending in E flat; an incidental symphony, in D minor, accompanying the death of Clärchen; some melo-dramatic music, during which occurs the death of Egmont; and a siegssinfonie, or battle piece for the orchestra, in F, almost identical with the coda of the overture. Of these nine pieces the longest and most important is the overture, which many consider the finest of Beethoven, preferring it even to Coriolan and Leonora. Perhaps it would be nearer the truth to say it is equal in merit to those master-pieces; since to pronounce it superior is to assume that perfection may be sur passed. So celebrated a piece, and one so frequently performed as the overture to Egmont, needs no description here. Every musician knows the score by heart. It is enough to add, that the two airs of Clärchen are among the most beautiful songs of Beethoven; and that some of the interludes are worthy of all admiration.

Dramatic.

HAYMARKET.- "The house is very full, to-night," once observed a friend to Charles Incledon. 66 Yes, very full," replied the latter; "there is not a vacant space left in which you could stick a pin; but," continued the talented, though eccentric vocalist, "it will be a good deal fuller next week when his Majesty comes in state. Last Monday, the Haymarket was a "good deal fuller;" there was no monarch, it is true, going in state' but there was a highly respected man, a favourie actor, and one of the most untiring and most popular managers, who ever ruled the destinies of an English Theatre, about to quit the scene of his exertions, and, we are glad to say, his triumphs, where for sixteen long years he had valiantly and manfully stood his ground, to the great advantage of the dramatic art, and to the unbounded satisfaction of all its patrons. Yes, on Monday last, Mr. Benjamin Webster took his farewell benefit, which was attended it has ever been our lot to behold. Every class of the playoy one of the most brilliant and densely-packed audiences going public, the elegant frequenters of the stalls and boxes, the more sober denizens of the pit, and the rougher, though no less susceptible, occupants of the gallery, seemed to vie with each other in their eagerness to express, by a parting mark of respect, their deep appreciation of the long and unwearying efforts of Mr. Benjamin Webster for their amusement. That gentleman's appearance was the sign for a perfect hurricane of applause, which lasted for a longer period than we, with a pardonable wish to be believed, care to state. Webster advanced and addressed the public in the following At the conclusion of the Pretty Girls of Stilberg, Mr. B. speech, which was frequently interrupted, by the most vociferous cheering, and genuine, heartfelt manifestations of feeling :-"Ladies and Gentlemen,-No words can express to you how honoured and flattered I feel at this numerous assemblage of friends around me on this, my last appearance in the character of lessee and manager of the little theatre in the Haymarket. My final official duty is to offer you a grateful farewell. Having grown in good opinion as an actor, it emboldened me to task your patience as a manager, and in catering for your amusement, your patronage has given me no cause to regret the experiment, though I began without the assistance of a single farthing beyond what I had