"For nineteen years Grisi has held the highest position, unshaken by her many rivals, and the last season gave an undiminished proof of her great dramatic and vocal powers. Grisi is still, as she has so long been, the Norma, the Borgia, the Lucia, the Alice, and we might give her role of parts-in all she is the great prima donna. Mario is equally wellknown as the great tenor; since Rubini, no artist has gained the high position which Mario so deservedly enjoys. Mdme. Doria and Signor Ciabatta are artistes of high class, and great favorites. Madame Dreyfus will use, for the first time in this city, the new patent model harmonium; and we understand the fine feeling and extraordinary power of Madame Dreyfus' performance gives this instrument a high position. Mr. J. L. Hatton is clever, and sings with great humour. The programme is decidedly good, English ballads taking turn with the "Casta Diva," "Non piu andrai," "Tornami a dir che m'ami," "Adelaida," and not forgetting the humorous and eccentric "Little Fat Man." Grisi and Mario have announced their retirement after they return from America, and they leave England for their Transatlantic trip immediately after their tour in the provinces. The success of these artistes on their tour has been truly extraordinary, all the numbered seats, wherever they have been announced, having been taken long before the day of the concert. This musical melange is undertaken by Messrs. Needham and Son, and will, we hope, have the success it deserves. The prices of admission prove a liberal intention." Need we say that the concert was triumphantly successful? We need not, since it was; and the Messrs. Needham reaped the harvest they so richly deserved. SCRIBBLINGS AT JULLIEN. BY GEO. F. ROOT. (From the Musical World & Times.) I have finished my day's work, and now take my seat on one of the sofas in Metropolitan Hall, for an evening of musical enjoyment and improvement. After finding an impregnable place for my hat, I look around to see if we are going to have a good house, No doubt, whatever, about it-twenty minutes yet, and the Hall half filled, and the crowd increasing every moment. Well, that's pleasant. Jullien likes large audiences, and he will be in good spirits to-night. With the aid of my glass, I go on a voyage of discovery around the Hall, for acquaintances; taking in, on my way, anything strange or curious. There's Willis of The Musical World & Times. Take care, Monsixteenth part of a hair's breadth, he'll-but, there's a lady with sieur Jullien. If you depart from the musical truth so much as the him. I wonder if that isn't that spicy contributor to The Musical World & Times, FANNY FERN! Look out for an article in the next number about Jullien's concerts. I hope that I am not doing anything that she does not like, if indeed it be she, for she has a way, under such circumstances, of expressing her mind in a remarkably clear and unambiguous manner. A little further on, I see Vincent Wallace, the composer, looking forests about lake Adirondac during the cold weather we have had as well and amiable as usual; although camping out in the wild for some days past would not seem to be conducive to such a condition of things. But I'm inclined to think that trout-fishing is indispensable to composition in his case. By the way, it must have been a magnificent fish to have produced that last song of his. Here comes William Henry Fry, and right welcome he is; everybody is glad to see him, and his singularly expressive features light up with generous interest as he returns the greetings of the friends who gather around him. He can't stay long, for he must work far into the night to produce the splendid article which you will see in tomorrow's Tribune. (Mistaken there, Root, He'll write it on the top of his hat before you can get home-ED.) And here is a company of young ladies, from one of our most celebrated institutions, full of anticipations with regard to the evening's enjoyment, which are not destined to disappointment. They and the Principal who accompanies them are evidently much annoyed in front, and, while they arrange their scented locks in the most by those two young men who have planted themselves directly approved manner, are staring impudently at the fair group. You will find them, with more of the same sort, when the concert is over, of the ladies, as they pass out. blocking up the passage-way below, to the discomfort and annoyance I hope FANNY FERN gees them. 3 But now the members of the band begin to assemble. Hear that A from Wuille's clarinet! How firm, yet how mellow and pure! And now, the oboe joins its clear, true, locust like voice, and in the hands of Lavigne produces a tone which seems almost interminable. What a jargon, as the violin and other instrument's take up the sound, and branch off into all sorts of fantastic cade nces. It makes me think of the story of the ambassador from somewhere in the East, who, at the close of the first part of a concert in London, wished to have one of the pieces repeated. They tried one and another in vain, and at last gave up in despair, as his gesture of discontent showed they had not hit upon the right one; but when they commenced tuning for the second part, he clapped his hands with every demonstration of pleasure, as he recognised the performance which had so delighted him. But I don't agree with the ambassador, and wish they would tune before they come in. Now, Mr. Baker, the leader, taps the stand before him with his bow, and there is a diminuendo; but the tuning and flourishing does not cease until Jullien appears. How well he looks, and how white his vest and gloves are! Now he takes a comprehensive survey of orchestra and audience, and one or two hush es reduce all the tones of his monstrous band were concentrated in his little both to silence. How gracefully he raises his arm, and how (as if baton), like one instrument they commence. How well they play, and how wonderfully he conducts! It is plain they resign themselves entirely into his hands, and that 'tis he who produces the results: they are his conceptions and ideas to which we listen. I am much interested in the enjoyment of my next neighbour. He is a gentleman a little past middle age, plainly dressed, and of substantial appearance. He decidedly likes the concert, and as it goes on, comments in a very discriminating and pleasant manner thereupon. About the time for intermission, an acquaintance whispers in my ear-"Do you know with whom you have been talking?" "No, I don't," I reply. "Well, that is one of the ex-Presidents of the United States!" True enough; a careful look, ani I see it is John Tyler. But see how the people pass and repass, during the promenade, taking no more notice of John Tyler than of his next neighbour. I can't help telling one of my foreign friends near me, that here is an opportunity to see what cannot be seen in any other country on the face of the earth, namely, one of our kings who, having occupied the highest place Americans can give, drops quietly again into the current and floats on with the rest, no more conspicuous than his fellows. I am fortunately situated to see the audience, and although I have heard many of the pieces several times, I enjoy the first surprise and pleasure all over again, with the new comers. What interest and excitement in their faces as in the American Quadrille the tone-mass progresses with sure and rapid step to the climax. He has you fast, my friend, and there's no release until you join in the shout of victory which must crown such an effort; and look! Jullien turns to the audience, and with graceful, but irresistible motion, signs them to rise. How willingly they obey, and with what swelling emotions of patriotism and home-love we are filled, as the mighty tones of the full baud, pouring forth, and moving like the tread of a giant, perfectly glorify our old "Hail Columbia!" Ah, Monsieur Jullien, you have hit the right chord, and wherever you go in America, you will be sure of a welcome. [P.S.-The following communication from a friend will erve, we fear, as rather an extinguisher upon the last sentence of the foregoing. We insert it just as we find it; yet are constrained to in quire, "Are these things so?"]-ED. BUNKER'S HILL VERSUS JULLIEN. (Communicated.) OUR readers, who may be at some pains to remember that the battle of Bunker's Hill was an important fact in the world's history, will assuredly be interested to know that M. Jullien, an Anglicised French Jew, is quite willing that that battle and all its attendant circumstances should pass into quiet oblivion. M. Jullien, though a Napoleon in leading, is certainly not well posted up in Republicanism. At least he must be quite ignorant of the feelings which actuate the descendants of the patriotic sires of 1776, to suppose that what happened at his rehearsal on Monday morning, 17 h instant, can be passed by in mute acquiescence. The facts are these: MR. KNAEBEL, an intelligent German musician and exemplary man, long resident in this country and now playing in Jullien's band, had composed some very effective music for eight men's voices, to be accompanied by a brass band. The words were by no less a person than that highly-gif.ed and well-known author, Mrs. Lydia H. 'Sigourney, and ran as follows: "THE PRAYER ON BUNKER'S HILL." ("During the Battle of Bunker's Hill, a venerable clergyman knelt on the field, with hands upraised, and grey head uncovered; and while the bullets whistled around him, prayed for the success of his compatriots, and the deliverance of his country.") (We have not room for the poem.) This beautiful jode, with the music, had been presented to M. Jullien, who agreed to its performance on Wednesday evening of this week. Mr. Knaebel had taken unusual pains to select eight gentlemen with voices of uncommon power, and the rehearsal was appointed for Monday morning, 17th instant. Imagine the indignation of Mr. Knaebel at being refused a hearing! And for what, do you think, good reader? Let M. Jullien speak for himself: "I tell you, said he, turning in a most insolent manner towards Mr. Knae bel, cannot and will not have this piece performed. Do you think I can consent to have any piece performed by my band which reflects upon England? Do you know, sir, that my wife is an Englishman? (query, woman?) Are you aware that I made my fortune in England? I will not have this allusion to Bunker's Hill in my programmes. Change the name of your piece, and I will perform it." "No, sir," said Mr. Knaebel, with composure, "I shall change neither the subject nor the naine." We owe you one, Mr. Knaebel, for that calm and manly reply, while not a single American in the orchestra had a soul big enough to take a stand by you. On the contrary, the orchestra, composed almost entirely of English and German performers, applaud d M. Jullien for his conduct. Both he and they will live to see their error. We must be mistaken in the men who live near Bunker's Hill, or in the "solid men of Boston," whither M. Jullien and his band soon depart, if we suppose this haughty leader can be permitted to appear before them without full reparation for so gross a. offence. Let it be understood that it is not simply the refusal to perform a short piece of music for a brother musician, that now excites our condemnation. M. Jullien, publicly, before his orchestra of one hundred performers, and in presence of the gentlemen who had agreed to sing the ode in question, denounced the piece as unfit for performance, solely on account of its allusion to the battle of Bunker's Hill. (Bravo, JONATHAN!!) D. R. WE have, in the article by Derkum, a respectable name (the name of a man who, during his life, was universally reported blameless) badly slandered; Chevalier Ignatius von Seyfried, was held in the highest esteem in Germany; he was a man of uncommon literary and musical abilities; he was a German writer of superior talent, and his musical criticisms in Europe were received with great respect. Who is the slanderer? The obscure writer of an unknown German paper. Ignatius Seyfried says positively that the "Studies" are the posthumous work of Beethoven, preserved in their original form with the utmost conscientiousness. self: we quote his own words, taken from the first German Let Seyfried speak for himedition of the "Studies." "These Studies of the immortal composer," says he, are a legacy of such value to the world of Art, that no one would venture to take away from, or add a line to it. I have therefore presented it in its original form with the utmost conscientiousness, as it was found among his posthumous papers; only here and there have I omitted some tautological examples of one and the same rule, which the zealous pupil had worked for his own benefit; the limits of the marginal notes are retained." This deposition of the illustrious work did not allow of such prolixity; but all Beethoven's Seyfried bears all the appearance of truth; it is given with simplicity, without emphasis, in so candid a style that it removes even the idea of an imposture. Imposition is more pompous and noisy; it strikes its hands upon the table, and swears strong oaths, just as does the author of the paper to which we reply. Now, if it be true that testimony owes its weight and influence to the character of the witness, we have, in the undeniable respectability of Seyfried, the best of reasons for reliance upon his words. The "Lerher an der Rheinschen Musik-Schule," endeavours to invalidate the respectability of Seyfried by the most perfidious insinuations, when he says, in the form of interrogation: "Does not the assurance of a most respectable man (I. V. Seyfried) prove that these Studies have been collected from Beethoven's MSS. ?" and he answers, "Read the preface of the editor." Which editor? We are not told! Impartiality required from the author of the article the quotation of the preface of the editor, the most of his readers being ignorant of this preface. At least, it is necessary for us, Americans, to know it, that we may weigh what is said of so respectable a name as I. V. Seyfried; until we know what is said, of course we accept the testimony of Seyfried as the deposition of an honest and conscientious witness. The writer of the German article says again :-"The whole artistic world will be taken by surprise when they shall read the following statement, the result of my researches, as to the true quality of the book, according to which, the declaration of the title appears as a falsehood, and the preface as a mockery" Mark these words, reader,- "the preface as a mockery!" We have quoted, above, Seyfried's preface; run your eye over this preface again, and say who mocks at the public-the author of this preface, or the author of the German article, the honesty and integrity of whom is absolutely unknown to us, while Seyfried's is an established fact. But, now, suppose it should be proved that the greater part of Beethoven's Studies are to be found in Fux's and Albrechtsberger's works: it cannot hence be argued that these Studies are not the work of Beethoven. Seyfried asserts in his preface that they are Beethoven's own work. Now, it cannot be denied that the principles of Beethoven on counterpoint are the same with those of the theorists of the fifteenth and sixteenth centuries; counterpoint is not changeable; it is not subject to fashion; it is now what it was at the period of Palestrina and Durante. Haydn, Mozart, Beethoven, and Cherubini, imbibed identical principles on the subject. It is even probable that in his "Studies" Beethoven has quoted (perhaps often), word for word from the preceding theorists, and especially from Albrechtsberger. Is it less the work of Beethoven on account of this circumstance? It is well known that the most eminent men in art and literature were in the habit of copying-making extracts from the celebrated authors who were striving in the same branch. So we read of Cicero copying assiduously the works of Demosthenes; Virgil copying and translating Homer: and in our own time, Cherubini, in his spare moments, was frequently found copying the works and scores of the great masters. Now, suppose that some years after the death of Cherubini, his family had published a work of this kind, with marginal notes in Cherubini's own hand; would any critic pretend to say that such a work were not the work of Cherubini? Certainly not. Thus it may be, that Beethoven selected lout, here and there, passages to save himself the time and trouble of writing them: his well-known character allows us to make such a supposition; but he must not, for this, be deprived of his right to the authorship of the work. It must be borne in mind that he never intended to write any regular treatise for the public. All this was a matter of study, and he did not care to conceal or disguise the sources whence he gleaned the different materials from which he intended to derive profit. Now, we maintain that the genuineness of the "Studies" evident on the perusal of the work itself. In the second number of our notice on Beethoven's Studies, (Musical World and Times of Sept. 17th, p. 23, first column) we have quoted a passage which could have been written by none but Beethoven himself; it is the very man, with all his eccentricity. We will present a few additional lines, which prove this fact still more. On page 116, he says:-"I would beg, parenthetically, to observe, that I have had the temerity to introduce a dissonant interval here and there, sometimes leaving it abruptly, sometimes striking it without prepara tion. I hope this is no high treason, and that the judices doctissimi, if ever I meet them in the Elysian fields, will not shake their periwigs at me. I did this to preserve the vocal melody intact, and will be responsible for it before the tribunal of common sense and good taste These severe laws were only imposed upon us to hinder us from writing what the human voice cannot execute; he who takes care not to do this, need not fear to shake off such fetters, or at least to make them less galling; too great caution is much the same as timidity!--Satis pro peccatis: here is a long defence of a slight misdemeanour. Who would deny that this is quite the style of Beethoven? Neither Fux nor Albrechtsberger could have written with such freedom and boldness. Again, on page 126, he relates an anecdote connected with the example above. 'Frohberger, an ancient composer, is said to have written shot pieces of sacred music in which no fourth occurred in the parts, not even that one which is the second tone (as taken from above) in the perfect chord; his object being to represent in this way, by means of the purest tricinium, the Holy Trinity. This singular mode of writing is called harmonia sine quarta consonante. Albrechtsberger related this anecdote to me the other day." Again, on page 174, "An antiquated rule makes it unlawful to go beyond the six nearest relative keys, in a strictly conducted fugue; but I am decidedly of opinion that one need not scruple to infringe this rule-if a man have sharp eyes, and can walk well, he may venture to go a little beyond the prescribed limits without danger." The book is full of such passages. If any one after reading such evidences of authenticity can doubt it, he may as well doubt the productions of his own mind. But this is not all. To support our opinion, we may rely upon the authority of Mr. Fetis. Mr. Fetis is well known for his able criticism; he holds a high position as a musician, being chapel-master to the King of Belgium. He is an eminent composer, and the first contrapuntist living. Some years after the death of Beethoven, he translated the "Studies" from German into French, with the assurance that they were unquestionably the work of the great symphonist. It is beyond question, that before setting himself to the work he failed not to satisfy himself that it was the genuine work of the great artist. To the authority of the French translator, we add the respectable and well-known name of Mr. Pierson, one of the most distinguished artists of England, and a composer himself. He says, on page 6 of the new edition :-"The genuineness of the 'Studies' is unquestionable, and, apart from the collateral interest attached to them, they are of great intrinsic value to all young musicians who desire to get at the kernel, without unnecessary difficulty in breaking the shell." The German libeller says: "Doubting the genuineness of the book, A. Schindler lifted up his voice in 1835, but the voice of the Herdsman was partly heeded, partly suppressed by those interested in the matter." If "the voice of the Herdsman" had been the voice of truth it would have been heard, and would have stirred the whole musical world. Liszt, Berlioz, Fetis, and the other critics of Europe, would have been awakened; they would have considered the matter attentively, and joined their efforts to unmask the designs of Seyfried and his publisher. If Schindler were "on the right track," as now asserts the libeller, why did he not show that he was on the right track? Why were the statements now published not brought to light at that period? Why were the researches now prosecuted not made at that time? Why! because Seyfried was there, ready to confound those who might have "Studies," and their plots. It is odious to impeach the character and loyalty of this illustrious man after his death, when he is not living to parry and repel the weapons of his enemies. If Schindler, at the time of the publication forwarded pursuant to the directions of the defendant and of Mr. AN EARTHQUAKE AND A POET. Brighthelmstone, that pleasant watering place, was recently visited by an earthquake. The hill, or rather cliff, broke, and from the chasm issued, not a mouse, but a poet, who addressing himself incontinently to his mission, sang as follows: IMPROMPTU Cross-examined by Mr. Hawkins: His avocation was that of a classical teacher at Leamington, but he had for many years been engaged to make these sort of arrangements for professional persons He had for many years who wished to carry out provincial tours. managed these things for Mr. Lumley, Mr. F. Beale, Mr. Albert The description in the programme of the defendant's performances of "Aunt Lucy's objection to Ballet Dancing," was not his drawing up. He had not proposed a three months' tour, and that he would pay all the expenses. It was arranged that a tour should be made for one month that summer, and it was made, but on the defendant's own account, as circumstances had prevented him from either going or carrying out the arrangement which was in the first instance entered into between him and the defendant. The defendant had introduced him to the plaintiff, who was his printer, and after that he had given the orders for the printing for the defendant, in pursuance of the authority he had given him for that purpose. Thus Re-examined: He had been acquainted for some time with the different parties in the provinces, and had upon several occasions taken their rooms for Mr. Albert Smith and other artistes. it was that his services and knowledge were of value to the defendant. He was not to pay any of the expenses of the tour, and was to be remunerated by a share of the profits. Mr. Hawkins, on behalf of the defendant, said that he was a ON HEARING THAT MARIO WAS OF NOBLE ORIGIN, AND THAT gentleman who had been in the army, but of recent years had NICE WAS HIS NATIVE PLACE. Marry! O Mario! none can doubt thy worth, Thou hast achieved high note and wide renown; And a "Nice" singer-by thy native town. The "sub." of the Brighton Herald took down the inspired verse in short-hand, and the next day the editor gave it to the world. COURT OF EXCHEQUER. FRANCIS v. CARTER.- This was an action brought on Thurs day week by the plaintiff, a well-known printer, in Catherinestreet, Strand, to recover the sum of £61 16s. 3d. for printing and goods supplied to the defendant, Mr. Lee Carter, for the purposes of that gentleman's musical entertainments. The defendant pleaded, never indebted. On the part of the plaintiff, it was proved by that person and his foreman, that in the month of June, 1852, the defendant had given his entertainment at Willis's Rooms, under the title of "Sketches and Scratches," under an engagement with Mr. Mitchell, such engagement having been made through a Mr. Nimmo, the agent of the latter. The bill for the printing was in due course paid by the defendant. Soon after this the defendant gave his entertainment at Greenwich, and the expense of printing was borne by the defendant, with the exception of 10s. Some little time afterwards the defendant introduced a gentleman of the name of Torre to the plaintiff, remarking that he was about to set out on a provincial tour, with the intention of giving his entertainment in some of the principal towns in the country, and that Mr. Torre would in future give the orders for what was wanting in the printing way. The defendant went on his tour, and the necessary cards, tickets, programmes, envelopes, and posting-bills were duly furnished and launched out by giving the entertainments of which his learned friend had spoken. In the present case, did he feel that he was the party liable, the defendant would at once have paid the money; but he considered, as he was inclined to think the jury would in the end think, the liability was upon Torre, and not upon the defendant. He should call the latter gentleman, and the jury would hear his version of the transaction. Mr. Lee Carter having been called, stated that in 1852 he gave an entertainment called "Sketches and Scratches," at Willis's Rooms. After that he received a proposition from Torre, who offered to superintend the arrangements for him in a provincial tour. They eventually came to an arrangement, the effect of which was that Torre, in truth, engaged him to give his entertainment on a country tour, Torre to pay every expense, secure the rooms, and take half the balance after the payment of the expenses. He made the tour. After the arrangements had been ma e, and before he had set out on the tour, he received a letter from Torre, epudiating the arrangement he had entered into. In the first instance he had received a letter from Torre making propositions to make the provincial arrangements for him, and then they had an interview at which the matter was settled. Torre said it would be better that he should have the printing done by his (defendant's) printer, as that would save the expense of new blocks for programmes and bills, and thereupon he had introduced that gentleman to the plaintiff. He had subsequently called at the plaintiff's, and bad told the foreman that his master must look to Torre for the payment of the account, as he was himself in no way responsible. The bill in the end had been sent to himself, and he had handed it to his attorney. Cross-examined: He received a letter from Torre repudiating their engagement before he had set out upon the tour. The arrange ments throughout the provinces had at that time been made by Torre, and therefore he had gone the tour. Mr. Hill replied, and Mr. Baron Martin summed up. The jury consulted for a few minutes, and then found for the plaintiff the amount claimed. .sum EMERY v. WEBSTER.-This was a rule, in the Court of Exche- of the three Anabaptists. On Wednesday Guillaume Tell was quer on Thursday, to rescind an order of Mr. Baron Parke, giving repeated The engagement of Sophie Cruvelli, you are no doubt the plaintiff liberty to pay the sum of £32 to the defendant and aware, was signed eight days ago; the celebrated cantatrice is certain costs, and to proceed with the action, under the following engaged for two years for the sum of £4,000 per annum, with a circumstances:-The plaintiff had entered into an engagement four months congé. The two first mon hs of her congé for 1855with Mr. Webster to play at the Haymarket and Adelphi theatres the year of the intended "Universal Exhibition"-have been for three years, at a salary of £6, £7, and £8 per week in the re-bought up for £1,000 per month. Her debut will take place in spective years. In March last, while the salary was at its highest January as Valentine in the Huguenots. Afterwards, she will point, the plaintiff was dismissed by the defendant, and thereupon sing in La Vestale, Robert le Diable, Le Prophète, La Favorite, this action was brought, the declaration claiming the salary due &c., as well as in the new operas that doubtless will be written for the past month, and also damage for the loss of the future expressly for her. The letters and papers received from Turin salary. The plaintiff's attorney misconceived the nature of this confirm the brilliant success of the Prophète. Madame Stoltz is declaration, and, in framing the bill of particulars, only claimed highly eulogised in the part of Fides, in which—as the local jourfour weeks' salary-£32, on which the defendant paid that nals, in their enthusiasm, aver-she unites the singing of a Pasta into court, and the plaintiff's attorney, thinking he had got all his with the dramatic genius of a Rachel.-At the Opera Comique, client wanted, and that he could sue for the future salary, took there has been no change. Le Nabab continues its successful that sum out of court, and so put an end to the cause. After this, career, and the theatre is crowded nightly.-1 he Theatre Italien on the 26th of May, the plaintiff's costs were taxed, but on the will open on Tuesday. In the list of engagements Mdlle. Parodi 1st of June, it was discovered that the pleadings were so framed has been included.-At the Theatre Lyrique the posthumous opera as to embrace all the damages to which the plaintiff could lay by Donizetti is in rehearsal. Le Bijou perdu and Madame Cabel claim; and it therefore appeared that, by accepting the sum paid continue to attract.-Emile Prudent has returned to Paris after a into court, the plaintiff had in effect debarred himself from re- most successful tour in the provinces of England, where he gave, covering any other sum, as the judgment in this might be plead in thirty days, no less than thirty-five concerts.-The Academie in bar to any future action. In order to set the plaintiff right, des beaux arts proceeded yesterday to the election of a member to therefore, this order was obtained at chambers, and against it this replace the late George Onslow. At the sitting of the preceding rule was moved for, on the double ground that the learned Baron Saturday the following were nominated as candidates by the had exceeded his jurisdiction, as the cause was at an end when Section of Music:-No. 1, MM. Clapisson and Félicien David; the costs had been taxed and paid, and that, if he had any juris- No. 2, M. Niedermeyer; No. 3, M. Henri Reber; No. 4, M. diction to interfere, the case was not one in which any sufficient Batton; a sixth candidate, M. Leborne, was roposed by the other } ground existed for the exercise of the discretion vested in him. sections of the academy. At the sitting of yesterday, there were Mr. Hawkins now appeared to shew cause against this rule. thirty-five voters, M. Henri Reber had the greatest number, and The court had decided, when it was moved, that there was juris- was consequently elected.-Charles Eckert, the composer who diction over a cause even after it had reached the stage of taxation went with Madame Sontag to America, has returned to Europe, of costs; and the only question was whether the case was one in and goes to Munich to fulfil the duties of chef d'orchestre at the which the plaintiff was entitled, in justice, to the relief granted to opera.-Louis Lacombe has returned to Paris. He has been him by this order. It appeared, on the affidavits, that both the composing several new works which will be heard in Paris this plaintiff and his attorney had acted under an erroneous notion of winter.-M. Bosch, a guitar player from Spain, intends to pass the the rights of the former, who had actually refused £100 when winter in Paris. He gave concerts last winter in the different offered to him by the treasurer of the defendant; and as the order provincial towns of France.-The young Marie Galtier, a prewas made on the payment of all costs and the refunding of the cocious pianiste, who made her debut last year, aged six years, is money received, it was submitted that the plaintiff was entitled to expected soon to arrive in Paris, for the purpose of giving concerts. maintain it, and to prosecute his action. She is now seven years and a half old, and report speaks highly of her improvement.-The Society of St. Cécile, under the direction of M. Seghers, will soon give its first extra concert. The following is the programme:-1, Overture to the Marriage of Figaro (Mozart); 2, Chorus from the Seasons (Haydn); 3, Overture to Manfred (Robert Schumann), first time in Paris; 4, Air from Cosi fan tutti (Mozart); 5, Fragment from La Passion (Sebastian Bach), Recit, duo, and chorus: 6, Symphony in A (Beethoven). LILLE, Nov. 8.-The first concert of the Association Musicale took place on Saturday last, before an aristocratic audience. Never before, perhaps, was the general performance more satisfactory. Mdlle. Lefebvre sang the variations on the air, Ah! vous dirai je, maman, and the romance from the Noces de Jeannette, with great success. Arban performed a solo on the cornet-àpistons, and a triple salvo of applause greeted him at the end of each variation M. François, the violoncellist, also performed a fantasia. The orchestra performed the overtures to Lury the of Weber, and the Montano et Stephanie of Berton; esides pari o. a new symphony (the fourth) by Ferdinand Lavainne, whose instrumental compositions have gained him a certain reputation. Few of our composers have devoted themselves to the composition of the symphony with greater success. Mr. Bramwell and Mr. Wordsworth, being called on to support the rule, argued that, though the learned Baron might have had jurisdiction in the matter, he had not exercised a sound discretion when he made this order, as the defendant was thereby deprived of the right he had acquired through the admitted negligence of the attorney of his opponent. The case was likened to a bargain which ought to bind both parties, though it might eventually turn out to be burdensome to one. The bargain here was to be discovered in the pleadings and the acts of the parties, and if a cause was not to be considered as put an end to when money paid into court was taken out by the opposite party, no state of things could exist when a cause could be said to have terminated. The court was of opinion, however, that the order was well made. There was no bargain between the part es, but a mere error of judgment as to the effect of the existing pleadings, and the taking the money out of court. If that step was taken, as appeared to be the case, under a mistake which operated to the prejudice of the plaintiff's real rights, he ought to be allowed, in common justice, to come in and set himself right, paying all the costs to the defendant. Under all the circumstances of the case, therefore, the rule must be discharged, and, as it was moved by way of an appeal from a judge's order, it must be discharged with costs. Rule discharged accordingly. Foreign, PARIS, 13th Nov.-At the Academie Imperiale de Musique, on Sunday, Guillaume Tell was given with Guiemard, and on Monday the Prophète with Roger. The sudden indisposition of Koenig obliged Aymès to sing, with the book in his hand, the part of one NICE, 29th Oct.-The theatre has reopened, and the concerts have commenced. The theatre has been taken as last year, by a French-Italian troupe, playing vaudevilles and operas. The opera troupe have an excellent bass, a good tenor, a passable barytone, and two prime donne. La Favorite of Donizetti, and Attila of Verdi, are performed alternately. Daniell, the tenor, is heard to advantage in the parts of Fernando and Foresto. Antonuccio, the bass, is very good in the chaunts of the monk, Baltasar, and the songs of the warrior Attila. The timidity of Winter, the barytone, prevented his developing his voice in the parts of Alfonso and of Ezio. He will, no doubt, sing better when more accus |