S\CRED HARMONIC SOCIETY, EXETER HALL. EXETER HALL. CONDUCTOR, M. COSTA. The Twenty-Second Season will

con mence on Friday, November 11, with a performance of Handel's Coronation Anthem. "Zadok the Priest," the Dettingen Te Deum, and Mozart's Service, No. 12. Vo. alists-Miss Birch, Miss Dolby, Mr. Benson, and Mr. Lawler. Tickets, 3s., 5s., or 10.6d. cach. The subscription is one, two, or three guineas per annum During the past season there were eleven subscription concerts. Subscribers to this Society also enjoy the privilege of attending the rehearsals in the large hall. Subscriptions received at the Society's office, No. 6, in Exeter-hall, daily, or on Friday evenings, during the rehearsals, from eight till ten o'clock.

The above will be succeeded by Handel's Samson, (in which Madame Viardot Garcia will sustain the part of Micah), on Friday, Nov. 25th, to be followed by the customary performance of the Messiah, early in December, all being sub cription Concerts.

BAND MASTER

J.

Re

T the Royal Marionette Theatre, Adelaide Street, West Strand, every evening at Eight, introducing the performance of the renowned Hungarian Band, conducted by Kalozdy. First appearance of Miss Julia Warmann." engagement of Herr Toyhrnaijree, who will perform nightly on the Hungarian National Instrument, the Zither Hongrois; the Brothers Distin, the unrivalled performers on the Sax-horn. Vocalists -Miss J. Brougham, Miss E. Brougham, Miss Josephine Braun, and Mrs. Theodore Distin, Mr. William Distin, Mr. Theodore Distin, and Mr. Henry Distin. Dress Stalls, 2s. 6d. Lower stalls, 1s. 6d. Balconies, Private Boxes, £1 1s. Private Boxes and Stalls may be secured at Mitchell's, Andrews', and Sams's Libraries. Afternoon Performance on Wednesday and Saturday, at 3 o'clock.

1s.

ROMAN VIOLIN, VIOLONCELLO, HARP, AND

GUITAR STRINGS.

HART, of 14, Princes Street, Soho, begs to inform the

Amateurs and Professors of the above Instruments, that in consequence of the ments with his string-makers in Rome, to send a fresh consignment every two months, when he hopes for a continuance of that liberal support he has so long enjoyed. J. H. has the largest collection of Cremona and other Instruments in England, ranging in price from 1 guinea to 400 guineas. Instruments repaired in the best manner, and taken in exchange. Stewart's celebrated Violin-holder, and all articles appertaining to the above instruments. John Hart, 14, Princes Street, Soho.

demand he has had for his celebrated Roman Strings, he has made arrange

NEW

THE CAPTIVE.

Just Published,

EW Song by R. E. Best, price 2s. This song is in D minor, it breathes forth a plaintiff wail, beautifully in accordance with the earnest aspirations after liberty, the poetry so well describes.-"Portsmouth Guardian." Also by the same Composer, Arietta, "Limpido Ruscelletto." Price 18. 6d Jewell and Letchford, Music Publishers, and Pianoforte Makers, 17, Soho-square.

Just Published, Price 10s. 6d.

THE PIANIST'S HAND-BOOK. A Guide for the Right Comprehension and Performance of our best Pianoforte Music.

NOTH

BY CARL ENGEL.

London: Hope and Co., 16, Great Marlborough-street.

28, Holles Street.

October 22, 1853.

OTICE TO THE TRADE.-DON JUAN. The fourth of Boosey and Sons' Series of Pianoforte Operas, is published this day, price 5s. (96 pages). The former Operas are La Sonnambula, Norma, and Lucrezia Borgia, 4s. each. They may all be had in cloth and ornamental covers, 1s. and 1s. 6d. each, extra.

M. EMILE PRUDENT'S Three most favourite Pianoforte Compo sitions. 1. Le Réveil des Fees. 2. La Chasse. 3. La Sonnambula, price 4s. each.

"THERE'S A BRIGHTER DAY IN STORE, LOVE." Ballad, by John Wass, sung, with universal approbation, at every Public Concert, by Mr. Sims Reeves. Price 28.

BOOSEY'S ORCHESTRAL JOURNAL, No. 16, (The Rigoletto Valses,) is published this day, price 5s. and 3s. 6d.

FETIS'S HANDBOOK OF MUSIC, in 7 vols., £4 4s., is imported by Boosey and Sons.

RIGOLETTO, cheap French edition of the Opera, complete, for Voice and Piano, price 12s.

BOOSEY'S REPERTOIRE OF FLUTE AND PIANO. and 2 contain Two Mosaiques from Rigoletto, price 4s. each.

BOOSEY and SONS, 28, Holles-street, Cavendish-square.

Nos. 1

Printed and Published for the Proprietor, by MICHAEL SAMUEL MYERS, of No. 3, Studley Villas, Studley Road, Clapham Rod, in the parish of Lambeth; at the office of MYERS & Co., 22, Tavistock Street, Covent Garden, in the perish of St. Paul, where all communications for the Editor are to be addressed, post paid. To be had of G. Purkess, Dean Street, Soho; Allen, Warwick Lane; Vickers, Holywell Street, and at all Booksellers. Saturday, November 5th, 1851.

No. 46.-VOL. XXXI.

SOPHIE CRUVELLI.

SOPHIE CRUVELLI has signed an engagement with the director of the Grand Opera in Paris for two years, on highly advantageous terms. While felicitating the Grand Opera, we cannot but commiserate our own establishments, since for two years at least there is no possibility of either of our great Operas commanding the services of one who has been justly styled Grisi's only successor, second in the line from Pasta, the first great queen of the Italian lyrie stage.

Fiorentino, in his feuilleton of the 8th inst. (Constitutionnel), the whole of which is devoted to the subject-twelve columns headed, "APROPOS DE L'ENGAGEMENT DE MDLLE CRUVELLI,”—thus announces the important event:"Mdlle. Sophie Cruvelli signed an engagement with the Opera at 5 o'clock p.m., on Saturday.

"As, in our opinion, the conditions of this engagement are equally honourable and advantageous to the theatre and to the artist, we see no reason why it should be made a mystery. "Mdlle. Cruvelli is engaged for two years at a salary of 100,000 francs (£4,000) yearly. She has the choice of parts, and four months leave of absence. She is to sing twice a week; and if, on any occasion, her services are demanded three times in the same week, 15,000 francs (£60) extra are guaranteed to her for this supplementary representation. The two first months of her leave of absence in the year 1855 (June and July, at the epoch of the intended Universal Exhibition) are bought up in advance by the management for 25,000 francs (£,1000) a month, which will give Mdlle. Cruvelli, for the second year of her engagement, 150,000 francs (£6,000) besides two months for repose."

Fiorentino then enters into a long, ingenious, and eloquent defence of the very large terms which are granted now-a-days to the most celebrated singers, against which we have nothing to say; but which, at the present moment, are unable to quote. Passing over seven columns, however, we can find room for the following:

"The Opera has engaged Mdlle. Cruvelli at very high terms, doubtless; but nobody denies that Mdlle. Cruvelli was exactly the woman the Opera wanted.

"The young and beautiful artist unites to a voice of the utmost power and energy, and with the most extensive range of any now upon the stage, a rare dramatic talent, breadth of action, and dignified presence, nobleness in her attitudes, in fact, many of the qualities of Rachel. Malle. Cruvelli will have two months of study to prepare for her debut. She is sufficiently a musician to read at first sight the most difficult scores. Although born in Germany, she was at a very early age in one of the best schools at Paris; change of language, therefore, will not prove an obstacle to her. She will make ner debut in the month of January, most probably in Valentine. She will then sing in the Vestale, which, with such aid, can once

Price Fourpence. Stamped Fivepence.

more be put worthily on the stage. Alice, Rachel, Leonora, &c.-all the grand parts, in short, will follow, without preable masterpieces, which had worn out the admiration of the judice to new ones which may be written for her. Imperishpublic, will thus be restored to youth; and at our first theatre we shall witness a series of brilliant soirees, and exceptional receipts.

Italian Theatre, went for Mdlle. Cruvelli only. In four "It is well known, that those who went last year to the months she sustained the whole burden of the repertoire, since Madame La Grange and M. Rossi only arrived at the end of the season. Surrounded by jealous mediocrities, who would hardly have been tolerated at a fair, exposed to annoyances, ill-temper, and extravagant pretensions of all kinds, she sang in rapid succession Desdemona, Norma, Semiramide, Louisa Miller, Linda, Elvira, Donna Anna, &c., &c., supporting to the best of her power, the theatre which was going to its ruin, careless of warning and advice. This did not prevent some charitable people (there are more Basilios than Bartolos at the Italian Theatre,) to invent for poor Mdlle. Cruvell who never for one instant quitted the breach, or refused to carry on her own shoulders, unassisted, the whole weight of affairs-a reputation for wildness, eccentricity, and idleness. "After the close of the Italian theatre, Mdlle. Cruvelli, broken down with fatigue, and satiated with the treatment she had received, returned to her native place, Bielfeld, for the sake of repose. Thence she proceeded on a voyage of pleasure on the banks of the Rhine, stopping at Ems, Frankfort, and Baden, at each of which places she gave concerts. Subsequently she appeared at the theatre in Cologne as Norma and Amina, singing her part in Italian, while the rest of the company responded in German. It was here that she received at the same moment propositions on the part of the Opera and that the Italiens may not be accused of allowing itself lightly the Italian Theatre. M. Alarvy-all must be told, in order to be deprived of such puissant aid-persuaded that Malle. Cruvelli had already signed an engagement in blank, which had been forwarded to her from Rome, and that consequently she had only another month at her disposal, offered her, in the name of M. Ragani, for the few representations which she might be enabled to give, a very considerable sum. Mdlle. Cruvelli, however, wrote an account of all that passed to a friend in Paris, and that friend advised her to come and arrange her affairs herself the shortest way, and the most simple.

"While negotiations were pending, we were careful in preserving the strictest silence. The least thing that a manager and an artist have a right to expect is the privilege of discussing their mutual interests as they may think proper, without the interference of the papers; and it appeared to us nothing more than proper to refrain from comment until the engagement was decided. Others, we say it without reproach, did not think it necessary to emulate our silence, and the morning after the day on which everything was settled, there were still several journals reproaching Mdlle. Cruvelli for slowness and hesitation, and loudly calling upon her to come at once to a

conclusion, as if she had any reckoning to make with them. "The engagement of Mdile. Cruvelli is a master-stroke, and could not arrive more apropos."

We must pass over three more columns, and come to the conclusion with the last paragraph of our excellent cotem

porary.

"To recapitulate-we shall have a good winter season; Malle. Cruvelli at the Opera, an excellent troupe at the Italiens, but now enriched with the name of Mdlle. Parodi; a new work of Meyerbeer at the Opera Comique, and Madame Cabel at the other end of Paris. It will be a pleasure now to speak of our theatres, and the occupation of a critic will, for the future, be less disagreeable than that of a convict."

To this we may add-Sophie Cruvelli is now called upon to fill up the void which was left by the retirement of Falcon. Paris expects it of her. The task, after all, is not impossible for one who, on the most important stage of Europe, has revived the memory of the incomparable Malibran, and for two years maintained an honourable rivalry with Giulia Grisi, the greatest dramatic singer of her time.

୯

SOPHIE--à l'œuvre!

Tes amis de Londres t'appellent. Ils boivent à ta santé. Ils trinquent à ton triomphe! VIVE SOPHIE !

WEDNESDAY EVENING CONCERTS.

The second concert may be dismissed in a few words. The features of the first part were the music from A Midsummer Night's Dream, and the overture to Ruy Blas, which were well performed, the "Wedding March" being encored as a matter of course. No conductor is more intimate with the music of Mendelssohn than Mr. Benedict. In the second part there was another bit of Mendelssohn, in the shape of two movements from the second pianoforte concerto, which was performed by Mdlle. Coulon, the baton being now in the hands of Herr Lutz, a new conductor, who is for the future to conduct all the second parts, which may account for the music of the master not going so smoothly as under the more experienced direction of Mr. Benedict. The other overture was Balfe's enlivening Bohemian Girl, and the concert concluded with the priests' march from Athalie.

From a quantity of vocal pieces contributed by Misses Birch and Poole—who sang the solos in A Midsummer Night's Dream -Misses Dolby, Ternan, Isaacs, Mademoiselle Norie, Messrs. Lawler, Cotton, and A. Braham, we can only find space to mention, "My pretty Jane," sung so well by Mr. Augustus Braham as almost to recall our inimitable Reeves, and encored unanimously; "Gratias agimus," finely sung by Miss Birch to the clarionet of Mr. Lazarus; and "Where the bee sucks," sung by Miss Fanny Ternan-a daughter of the eminent actress, Mrs. Ternan (Fanny Jarman)--who made her debut on this occasion with a success so legitimate as to deserve recording. If Miss Ternan study zealously, she has every chance of becoming one of our best concert singers. To a clear and flexible soprano voice, of a singularly agreeable quality, Miss Ternan adds an amount of good taste and a degree of natural sentiment which already confer a great charm upon

her singing. She was encored unanimously, and well deserved the compliment.

The third concert of Wednesday evening was in some respects the best. Mozart's symphony in G minor, performes as it was under Mr. Benedict's admirable direction, was alone worth the entrance fee to any part of the hall. To this followed "Batti, batti," sung by Miss Birch, with Mr. Lovell Phillips at the violoncello; "Il mio tesoro," sung by Mr. Augustus Braham, and "Vedrai carino," by Miss Rebecca Isaacs-a garland of sweet flowers which can never lose their fragrance. Of the rest of the vocal music, which, with the addition of Miss Grace Alleyne-who was encored in "Hush, ye pretty warbling choir"-the Misses Jolly, Miss Cicely Nott, and Miss Thirlwall, was confided to most of the singers mentioned elsewhere, we can only single out for notice the debut of Miss Thirlwall, daughter of one of our most excellent violinists. This young lady, who has a very sympathetic voice, and sings with much feeling, made quite a hit with the audience in "Robert, toi que j'aime." She was recalled to the orchestra at the conclusion and loudly applauded-a compliment well

merited.

The overtures on this occasion were Euryanthe, under Mr. Benedict, the Crown Diamonds and the Clemenza di Tito, under Herr Lutz, who also conducted the march from the Prophéte. A solo on the Viol d'Amore, by Herr Vogel, was clever and interesting-We should have mentioned, by the way, as a feature at the second concert, a duet for flute and clarionet, played to perfection by Messrs. Richardson and Lazarus, and rapturously applauded.

To speak of the best thing last-Beethoven's fine concerto for pianoforte and orchestra was performed by Malle. Wilhel mina Clauss, who never, since she first appeared before an English audience, achieved so great and so well-earned a suecess. Her conception of the music throughout was that of a true poet, and she imparted to each movement a distinct and individual character. Few pianists possess that command of varying tone to the degree possessed by Mdlle. Clauss; and this it is which enables her, in executing the longest compositions, to steer clear of monotony by giving a grateful diversity of colour-a term, by the way, which in this instance finds a proper application to musical performance. The reading of the slow movement was perfect; and the manner in which she gave to each reprise of the theme a new charm, by the simplest and most natural means, was exquisitely fanciful. The elaborate cadenza written by Moscheles for the first movement, judiciously abridged, vindicated Mdlle Clauss's reputation as a mistress of the bravura school. The concerto was listened to throughout with breathless attention, and the loudest applause was bestowed on every movement-we may say, indeed, on every solo. This performance was the more interesting since it may be regarded as Wilhelmina Clauss's

adieu to her London admirers, in anticipation of her approaching departure for Paris and St. Petersburgh, in both of which capitals we heartily wish her the prosperity she so much deserves.

JULLIEN AT BOSTON.

THE Boston Journal of October 25th has just come to hand. Jullien had arrived in the city in the midst of a tempest, and had given his first concert while the tempest was raging outside. By the following extract, however, from the Boston Journal, it appears that Jullien got the best of the tempest, as Omar Pasha got the best of the legions of the Czar:

"Jullien's Concerts.-Jullien, with his monster band, has literally taken the town "by storm "-for, any attraction that could gather an audience in the driving storm of last evening must be attractive beyond all precedent. M. Jullien may take it as a high compliment, that the Boston Music Hall was filled last evening, to welcome him to this city. A more delighted, a more enthusiastic audience, is seldom congregated in this city, notwithstanding the discouraging condition of the atmosphere without the hall. It was also pleasant to notice that the spirits of the performers were not affected by the storm, although the dampness told occasionally upon the stringed instruments. M. Jullien himself is just what he has been described a hundred times-when marshalling his forces with his silver tipped baton; in addition to this, he is a composer, and a consummate arranger of music for orchestral purposes. His spirit, energy, and musical enthusiasm pervades every portion of his orchestra, and that must be a dull and unappreciative audience indeed, which could not be warmed and fired by his genius and talent.

"Jullien's orchestra in its proportions is a monster. Eight double basses, twelve first violins, and the same number of secondas, and other instruments in proportion, the whole numbering about seventy. The great beauty of their playing is, that they act as one man. Of the violins, you cannot distinguish by the ear that there is more than one playing; and so of all the rest. The drilling is perfect. How such true and accurate crescendos and diminuendos can be obtained is a mystery to all, except those who know what can be accomplished by unity of purpose and intelligent combination. The orchestra contains some twenty solo performers, some of whom cannot be excelled. Such, for instance, is Koenig. His unrivalled performances were received last evening with thunders of applause. He makes the trumpet ring.

“Mdlle. Anna Zerr is the vocalist who accompanies M. Jullien. This lady excited wonder and astonishment. She has a voice of great strength, accuracy, and brilliancy in the upper registers, and in bravura music she is successful. She obtained an encore.

"M. Jullien has shown us what our national music is, and what can be made of it. The National Quadrille, introducing some twenty American airs, is a wonder in its way. The echoes were beautifully managed, and the imitation of a battle scene as accurately described as is possible by music. Jullien will continue his concerts every evening for eleven more nights, and if he should continue them for two months there is no doubt that the hall would be filled every night. Jullien is the right sort of a humbug-if humbug is the word -for he gives the public just what he agrees to, and that is just what the public want."

Foreign,

PARIS (Nov. 6)—ACADEMIE IMPERIALE DE MUSIQUE.The benefit of Levasseur, which took place on Saturday fortnight, was brilliant and productive. The performances consisted of the second act of Guillaume Tell, the delightful comedy la Famille Poisson, capitally acted by M. Samson, the

author, and his comrades of the Comédie Francaise; the fifth act of Robert le Diable, the fourth and fifth acts of Les Huguenots, and the bal masqué from Gustave. Roger, Gueymard, Mdlle. Poinsot, and Mdme. Laborde were each in turn applauded and recalled; and in the midst of these artists stood the veteran whose long services had neither reduced his strength nor his talents. In the fragments from Bertram and Marcel, Levasseur still showed a power of voice and a purity of style that recalled his past glory. Mdme. Guy Stephan danced on Monday for the last time previous to her congé in the Alia and Mysis. The ballet was preceded by the Maitre chanteur. La Favorite, and La Fille mal gardée, were given on Wednesday; and on Friday Boulo made his rentrée in the part of Raimbaud, in Robert le Diable. It was in this part that he made his debut at this opera twelve or thirteen years ago. Mdlle. Louise Steller was Alice, and, without having physique for the part, she has a very sweet voice. Gueymard and Depassio appeared as Robert and Bertram. As usual, Robert le Diable drew a crowded audience. The new ballet in which Mdlle. Rosati is to make her debut will be produced almost immediately. The Prophéte has been brought out at the Theatre Royal in Turin, The success was great, both for the work and the artists. Mdme. Stoltz filled the part of Alice, and Octave that of Jean of Leyden. Applauded as they both were in the second act, they produced a still greater effect in the fourth. Mdme. Stoltz excited a furore; she was recalled six times. Although both the piece and the music were curtailed, the execution, under the direction of M. Romani, was excellent. The work produced a great impression, and the Prophéte appears destined to make the tour of Italy, as it has made that of France and Germany. It is already announced both at Parma and Trieste. The Juif errant is about to be brought out at the theatre at Lyons. George Haint, the chef-d-orchestre, is directing the rehearsals at the Opera Comique, where Le Nabab continues its attraction, and Colette divides with it the public favour. The theatre on the off nights continues to be well filled.

At ST. PETERSBURG, Mdme. Lagrange is said to have The director of obtained great success in Barbière and Lucia. the Theatre Royal, Antwerp, M. Montemerli, is in Paris making engagements for an Italian company. He has made several offers to first-rate artists, among others to Mdme. Ida Bertrand; this lady, however, has not accepted, as she intends passing part of the winter in Paris. Auguste Morel, director of the Conservatoire of Marseilles, has left Paris to return to his post. Barroilhet has returned to Paris, from his tour in Italy. The Emperor has given, from his private purse, five hundred francs to the Society of Jeunes Artistes, whose meetings are about to recommence, under the direction of M. Pasdeloup. Teresa Milanollo, the charming violiniste, was in Paris last week, but remained only two days. At Compiégne, M. Edouard Vienot, the " Officier Pianiste” in garrison in this town, played several tunes before the Emperor, who gave him a pin enriched with diamonds.

BORDEAUX, 25th Oct.-Les Mousquetaires de la Reine has been produced, with M. and Mdme. Montaubry, successfully. In La Poupée de Nuremberg, and the Postillon de Longjumean, the same artists have respectively appeared; who they may be, however, it is for French papers and future fame to

announce.

MARSEILLES, 30th Oct.-The concert given by Ch. Lebouc, the violoncellist from Paris, in the Salle Boisselot, drew many amateurs. After a quartet of his own composition, this artist executed, with his young wife, one of the daughters of