Miscellaneous. MISS RANSFORD's fourth Soirée Musicale took place at her residence on Tuesday last, and was, as on previous occasions, most fully and fashionably attended. Miss Ransford was assisted by her father and brother, Miss Cicely Nott, Mr. Alfred Pierre, Mr. Frederick Chatterton, and Mr. Richard Blagrove. Miss Ransford was deservedly encored in Sir H. R. Bishop's song of "Bid me discourse," and the popular Scotch ballad, "O whistle and I'll come to you, my lad." Jullien's protégé, Miss Cicely Nott, was called upon to repeat Charles Haas, "Tyrolienne," which she gave with taste and judgment. Mr. Alfred Pierre was highly successful in ballads by Donizetti and Balfe, and Mr. Ransford in Hutton's "Old Simon the Cellarer." Mr. Frederick Chatterton played his favourite Reminiscences of Bellini, and Mr. Richard Blagrove a popular solo of De Beriot's on the concertina. Mr. W. E. Ransford conducted this delightful soirée, which gave general satisfaction. introducing several sonatas, &c., of Beethoven and Mendelssohn, not yet heard by the Manchester public. MR. F. BOWEN JEWSON.-This accomplished pianist lately led to the Hymeneal altar, Miss Anderson Kirkham, (niece to Mrs. Anderson, pianiste to her Majesty the Queen), whose musical talent has frequently been mentioned in our pages. MR. SIMS REEVES.-Edward Hassall, a clerk in a solicitor's office in Waterloo Street, was on Friday last brought before D. Malins and S. Thornton, Esqrs., at the Public Office, charged with endeavouring to extort money from Mr. Sims Reeves. During Mr. Reeves's recent engagement at the Theatre, he received two anonymous letters demanding £10, and threatening that unless this sum was paid "unpleasant results" would follow. Mr. Reeves promptly communicated with the police, and the letters were traced to Hassall, who admitted the authorship, and was taken into custody. On the application of Mr. Superintendent Stephens, the prisoner was, in the absence of Mr. Reevcs, remanded. MR. G. A. COOPER introduced his new entertainment, the Excursion Train, for the first time to a London audience, on Wednesday evening, the 29th inst., at the Athenæum, Islington. The audience received his humourous songs, sketches, and delineations with much good feeling, and bestowed their unqualified approbation in frequent and enthusiastic applause. Mrs. G. A. Cooper, the talented wife of the lecturer, rendered some charming ballads very effectively, especially one of her own compositions, entitled "Wander with me," also a ballad, entitled "My brother at sea," and a comic effusion by J. W. Thirlwall, called Single blessedness." We predict for this entertainment a long run. MR. J. E. CARPENTER.-This gentleman, the author of some MISS JANETTE AYLWARD and MR. BAUMER were the success- popular ballads, produced his new musical and pictorial entertainful candidates for the scholarships at the Royal Academy of Musicment "Scenes and Songs from Uncle Tom's Cabin," at the little WALTER MAYNARD'S INSTRUCTIONS IN THE ART OF SING- Cabinet Theatre, King's Cross, on boxing night, and was well His lecture is essentially a ING.-LONDON: CRAMER, BEALE, AND CO. At the present time patronised by the holiday makers. when vocalism is becoming a necessary accomplishment amongst drawing-room entertainment-neat and elegant; it is composed in all classes, the publication of this well-written, sensible, and a series of well-executed cabinet scenes of the most striking inciclever work on the "art of singing," is most welcome and appro- dents of Mrs. Stowe's popular work, each scene being accompanied priate. The author, who writes under an assumed name, is well by a song, or ballad, founded upon some pathetic passage in the known as a talented song writer, and the present work proves novel. In these Mr. C. received most efficient aid by the vocalhim to be a clever musician and a most refined and able expositor ization of the well-known Misses Jolly, who rendered the music of the minutiae of the delightful art, of which he here treats. allotted to them very sweetly, several times during the evening There are many works purporting to teach the "art of singing," receiving the honor of an encore. but none equal Mr. Maynard's for simplicity, completeness, and brevity. He gives an ample and succinct description, and the rudiments of music, which are explained with clearness and without pedantry; briefly, but without the omission of anything necessary to be learnt. Mr. Maynard's remarks on the formation of the voice, classification of voices, and the management of the voice, are written in a truly sensible style. He strongly deprecates over practice, and dwells forcibly on the necessity of mental study on the part of the learner, without which the mere attempt to overcome difficulties will be wearisome and almost useless. Twenty seven exercises, written with evident care and judgment, next follow, containing everything necessary to teach the graces and ornaments of vocalism, and to overcome the difficulties which every student can meet with. The accompaniments are easy, so that the teacher may not be disturbed or troubled in his avocations by taxing his own powers as a performer. The exercises are followed by plain and well-expressed rules for taking breath, on the practice of solfeggi, and upon singing with words. These rules are well worthy of the attention of even the most talented vocalists, few of whom are free from some of the faults which Mr. Maynard mentions. In conclusion, Mr. Maynard has added six solfeggi, selected from the works of Rubini, Crescentini, Aprile, Mandanici, and Pellegrini, well calculated to improve the careful learner, and impart that charm of expression, without which singing is ever dull and vapid. In conclusion we cordially and conscientiously recommend Mr. Maynard's work to all teachers of singing, and to every one anxious to learn that delightful accomplishment as perfectly as possible.-Liverpool Mail. MR. B. R. ISAAC, the talented pianist of Liverrpool, has been in town for the vacation. Mr. W. E. JARRETT of Cheltenham, the clever composer and pianist, has also been in town during the week. Mr. J. HILES, the well known professor of Shrewsbury, has been in London during the past week. M. ALEXANDRE BILLET AT MANCHESTER.-An occasional correspondent from this great emporium of commerce, informs us that M. Alexandre Billet intends giving, in the course of the present winter season, a series of performances of Classical Pianoforte Music on the plan of his popular soirées at St. Martin's Hall. Our correspondent adds that M. Billet purports 66 SIGNOR PIATTI has returned to London after an absence of some weeks on the continent, where it was rumoured he was a detenu on political grounds; we are happy to say rumour was false. The talented violoncellist is now, as always, full of harmony, which he practically demonstrated at a brilliant and fashionable assembly, given by the Duchess of Somerset, a few evenings since, Marchioness of Westminster, who are relatives of her grace, to in honor of the nuptials of a daughter of the Marquis and a popular Scotch nobleman. BRITISH MUSEUM. A catalogue of all the musical compositions contained in this national establishment has lately been prepared with great care; it consists of fifty seven volumes, divided into two sections, one containing the names of the composers, and the other those of the authors of the words that are set to music. SIGNOR GORDIGIANI, the eminent Italian composer has just published a very beautiful Album of Italian vocal music entitled La Rosa d'Inghilterra, and dedicated by permission to her Majesty the Queen. The elegant appearance of the volume is quite in keeping with its very pleasing contents. MR. GEORGE GENGE's Concert and Ball took place at the Lon. don Tavern, on Thursday Evening, December 30. A selection of and Felton; Messrs. Kenny, Genge, Perren, Lawler, Ransford, music was performed by the Misses Ransford, M. Wells, J. Wells, and Farquharson Smith. Mr. G. Case played a solo on the concertina, and the concert was under the conductorship of Mr. F. Smith. We need hardly say, from Mr. Genge's great popularity in the City, that the rooms were crowded. A few contretemps occurred, firstly, Mr. Lawler did not arrive until everything was over. He did, however, then sing, "Lo, the factotum," though the waiters favoured him with an entirely new accompaniment in The waiters were bad! and our "own reporter" was obliged to sup off Stilton checse and pale ale, which luckily turned out to his satisfaction. The Beneficiare, however, we must in justice say cannot be blamed for this, the onus rests with the proprietors of the London Tavern, for treating Mr. Genge's patrons so scurvily. the shape of chairs moving and discordant yells, which greatly in- allude to the human tongues at the table). The hams were bad! terfered with the proper hearing of the scng; then Mr. Farquhar- the fowls were bad (jolly old cocks!) son Smith had a cold, and could not sing "The Tower of London,' so Mr. Ransford kindly undertook to sing "Simon the Cellerman" instead ; again, Mr. Holmes did not "put in an appearance," so Mr. Genge favoured the company with "Free as the air," in which he was deservedly encored. He did not repeat it, but gave "The low backed car" instead. The concert otherwise gave satisfaction. Miss M. Wells was encored in the Scotch ballad, "Annie Lawrie," and Mr. and Miss Ransford received the same honour in Parry's duet, "Tell me, gentle stranger." Mr. Case was also encored in his solo on the concertina. Mr. Genge was well received in all he undertook, and Mr. Farquharson Smith accompanied the vocal music exceedingly well. The Ball which followed the concert went off with great spirit. Adams' quadrille band was engaged, and performed their arduous duties in a satisfactory manner. The supper, we regret to inform our gastronomic readers, was a failure. There was no lobster salad! The tongues were bad! (we don't | ford. TO CORRESPONDENTS. OUR OWN CORRESPONDENT AT MANCHESTER.-Your letter arrived too late, the Musical World having been published on Friday instead of Saturday. SUBSCRIPTIONS RECEIVED. Mrs. F. S., Portsmouth; P. C., Dundee; F. T. H., Water Letters to be addressed, prepaid, to the Publisher, M. S. MYERS, 22, TAVISTOCK STREET, Covent Garden. NEW PHILHARMONIC SOCIETY. THE WALTER MAYNARD'S BRINLEY RICHARDS' LE SOUVENIR. PRICE 2s. 6d. Just published, Mr. Richards' last Pianoforte piece; and, by the same popular Composer, "Eva," arranged for the Piano forte. price 2s. 6d. Also, 3rd edition of Mr. Osborne's most successful Pianoforte piece, entitled “ Evening Dew," and his newest composition, "THE SUNBEAM, which promises to rival the "Pluie de Perles" and "Evening Dew" in popularity s. each. Chappell. 50, New Bond Street. CEL NEVER FAILING REMEDY. HOLLOWAY'S OINTMENT. ERTAIN Remedy for Scorbutic Humours, and an astonishing Cure of an old Lady, Seventy years of Age of a Bad Leg. Copy of a letter from Messrs. Walker and Co., Chemists, Bath. To Professor Holloway, dear Sir, Among the numerous cures effected by the use of your valuable medicines in this neighbourhood, we may mention that of an old lady living in the village of Preston, INSTRUCTIONS in the Art Progressive Vocal Exercises for Dai y Prac ice, by E. C. May, price 83. Cramer, Beale, and Co., 201, Regent Street, and 67, Conduit Street. ORIANA, WORDS BY TENNYSON. THE GIPSEY. WHY LOOKS THE BRIDE SO PALE? LOVE LAUGHS at LOCKSMITHS, Composed by J. F. DUGGAN, are now published at Campbell, Ransford, & Co.'s, 53, New Bond-street. CARL HOCHST-The latest compositions of this popular composer comprise- Valse, "Les Fruits d'Automne," 4s. all splendid'y illustrated by Brandard. 43. Campbell, Ransford, and Co., 53, New Bond-street. and lately they increased to such an alarming extent as to defy all the usual re-. entirely by the use of your Ointment, and speaks loudly in its praise. April 6th, 1852. Bad Breasts Burns Stiff Joints Lumbago Scurvy Sore-heads Tumours Ulcers Wounds Yaws Bite of Mosche- Corns (Soft) Flies Sold at the Establishment of Professor Holloway, 244, Strand, (near Temple Bar,) London; and by all respectable Druggists and Dealers in Medicines throughout the Civilized World, in Pots at 1s. 10., 2s. 9d., 4s. 6d., 11s., 22s., and 338. each. There is a considerable saving by taking the larger sizes. N.B. Directions for the guidance of Patients are affixed to each Pot. MUSICAL WINTER EVENINGS, WILLIS'S ROOMS. THE CONCERTS for the year 1853 are fixed to take place on Saturday, Feb. 5, and Thursday, Feb. 17; March 3 and 17. Subscribers of 1852 desirous of keeping their reserved seats are requested to notify the same before New Year's Day, after which all vacated places will be let to new subscribers. Parties of five and six can have a sofa reserved for the season. Subscription for the Series, One Guinea; single admission, 7s. Chamber instrumental music will be performed by the best procurable talent. Prospectuses to be had of the Treasurers, Cramer, Beale, and Co., Regent-street. J. ELLA, Director. VICTORIA MUSICAL DIRECTORY, VOCAL & INSTRUMENTAL MUSICAL REGISTER AND ALMANACK, AND ROYAL ACADEMY OF MUSIC CALENDAR For the Year 1853. PRICE ONE SHILLING; BY POST, 1s. 6d. RUDALL, ROSE, & CARTE 100, NEW BOND STREET, BEG respectfully to request that the Subscribers to the MUSICA. DIRECTORY, and those who intend to become Subscribers, will forward the amount of Subscription, upon the receipt of which the copies will be forwarded by post or other channels as directed. They also take this opportunity of requesting that the Subscribers will kindly forward to them, the correction of any initials and mis-spelling of Names or wrong Addresses that may have occurred, in order that they may be correctly entered in the next number of the Directory. JR PROSPECTUS. OUR Universities have their annual CALENDARS and ALMANACKS; the Medical Profession has its admirable MEDICAL DIRECTORY; the Law has a similar work; Painting and Sculpture embody, in the FINE ARTS ALMANACK, a concentration of valuable information which cannot be obtained elsewhere;-these, and numerous other publications, are annually distributed for the use and gratification of those who take interest in the several departments they illustrate; but there is no similar channel through which those devoted to Music may have conveyed to them the multifarious information connected with this most universal and delightful of all the arts and sciences. The Publishers of the MUSICAL DIRECTORY propose to supply this deficiency. They propose to publish an annual work, which, in addition to the fullest amount of information given in Almanacks generally, shall also be the exponent of as great an amount of Musical information as can be obtained; designed not only for the use of the Musical Pro'essor and Amateur, but for all who take pleasure in Music,-and who does not? Some of the heads will be such as have never hitherto been published in any form, but which, nevertheless, have been greatly desired. Among the most prominent will be 1st. Information relating to all Musical Societies that exist in London and throughout the country. 2nd.-A List of the Names and Addresses of all the Musical Professors of the United Kingdom. 3rd.-An Epitome of the principal Musical Occurrences of the past year. 4th.-A List of all the Music published during the past year. In addition to the strong claims such points as these, carefully carried out, must give this work, Messrs. RUDALL, ROSE, & CARTE have the honour of announcing that it is undertaken with the sanction of the noblemen and gentlemen forming the Committee of Management of the Royal Academy of Music, as the authorised Public Organ of that Institution-an Institution which, while it has fostered a large amount of native talent, including the greater portion of our most celebrated composers, vocalists, and instrumental performers now before the public, has also been unquestionably the means of improving musical education throughout the country. A brief History will be given of the Royal Academy of Music; also a statement of all the Students who have been educated there, with the dates of their entrance and departure, and the honours bestowed upon them, from the time of its commencement up to the present year, with every particular respecting the corstitution and rules of the Institution. Coming forward under such distinguished auspices, and the object of the Work being so obviously useful, Messrs. RUDALL, ROSE, and CARTE have fully determined that no expense shall be spared to render it perfect in every respect, and they will issue THE MUSICAL DIRECTORY, REGISTER & ALMANACK AND ROYAL ACADEMY OF MUSIC CALENDAR With the secure trust that it will meet a want of the times and consequently obtain the patronage of the public generally. SOCIETY. PROVISIONALLY REGISTERED. To consist of 5,000 Shares at £5 each, deposit £1 per share. Detailed prospectuses, with the names of the Committee, are now ready, and application for the remaining shares may be made to JOIN REMINGTON, Esq., 138, Sloane street, Chelsea. NOTICE OF REMOVAL. MESSRS. HAITE & LEACH, Musical Instrument Makers to Her Majesty's Army and Navy, have REMOVED from 13, Clifford-street, Bond-street, to 7, NEW COVENTRY-STREET, Leicester-square, in which extensive premises their friends and patrons will find a large assortment of Military and Orchestral Instruments, including the various inventions of M. Halari, at very moderate prices. GORDIGIANI'S VOCAL ALBUM FOR THE NEW YEAR. Dedicated to Her Majesty the Queen, by permission. This very attractive work, containing twelve new Italian Songs, Duets, &c., in a most ele gant volume, is published this day by T. Boosey and Co., 28, Holles Street. MISS DOLBY'S NEW SONGS. "THE SUNSHINE OF OUR HOME," words by J. E. Carpenter Music by E. Land, 2s.; " Mary Astore," words by Mrs. Crawford, music b Stephen Glover, 2s.; "My Mother's Gentle Word," poetry by Carpenter, music by J. Henry Griesbach, 2s, ALUABLE MUSICAL PRESENTS.-A LIST of 150 Royal Pianoforte School, 4 vols., 6 guineas; his School of Practical Composition, 4 guineas: Spohr's School for the Violin, 31s. 6d. ; Handel's Messiah, &c., by John Bishop, each work in folio, 158.; the Oratorios for Piano, by Czerny, in folio, each 8s.; Beethoven's Symphonies, by Kalkbrenner, 3 guineas; Haydn's 83 Quartets, 6 guineas; Mozart's Quartets, 42s.; his Quintets, 42s.; Beethoven's Quintets, Quartets, and Trios, a superb edition, by Rousselot; Kent's Anthems, 42.; Marx's School of Composition, 21s.; Haydn's 12 Grand Symphonies, 668.; Weber's Theory of Composition, 31s. 6d.; Boyce's Cathedral Music, by Warren, 6 guineas; Rinck's Great Organ School, 36s.; Rinck's Psalmody, 21s,; &c. AMILTON'S MODERN INSTRUCTIONS for the PIANO HA FORTE. Edited by CZERNY. 33rd edition, 48 large folio pages, 45. "It is sufficient to say that the present edition is the 33rd edition to stamp it with the genuine mark of excellence. It really deserves all the popularity it enjoys.”— Sunday Times, "The veriest child may learn from Hamilton's book."-Berwick Warder. "A complete grammar for the pianoforte student."-Morning Advertiser. "This book is unapproachable."-Dublin World. "A child might become proficient by attending to its directions."-North Wales Chronicle. AME DURDEN'S QUADRILLES, as performed in the New splendidly illustrated title), 3s. "The Dances of the Season." Printed and Published for the Proprietor by MICHAEL SAMUEL MYERS, of No. 3, Studley Villas, Studley Road, Clapham Road, in the parish of Lambeth, at the office of MYERS & Co., 22, Tavistock Street, Covent Garden, in the parish 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, January 1st, 1853, PUBLISHED EVERY SATURDAY MORNING. Terms of Subscription, per Annum, 16s.; Half year, 8s.; Three Months, 4s.; (Stamped Copies 1s, per Quarter extra Payable in advance, to be forwarded by Money Order, to the Publishers, Myers & Co., 22, Tavistock-st., Covent Garden. No. 2.-VOL. XXXI. SATURDAY, JANUARY 8, 1853. THE UNPUBLISHED WORKS OF MENDELSSOHN. upon THE author of the Midsummer Night's Dream music, the only congenial musical illustrator of Shakspere, has been five years dead; but, though his genius has ceased to produce, its influence the world grows from day to day. It is saidI speak only from hearsay, but I have never heard the proposition disputed, it is said that, from partisanship of another composer, and from other causes that it would be difficult to explain, still more difficult, perhaps impossible, to comprehend, the merit of Mendelssohn is depreciated in his own country. Poor Germany! how ten-fold pitiable, if this be true, is thy estate! Can it be that a deformed slave taught morality by fables such a number of years before the Christian era in Greece, to the end that thou, birthplace of Bach and Handel, of Haydn, and of Mozart and Beethoven, that thou, native soil of what is highest in purpose, and greatest in fulfilment in our art, that thou, source of the intellectual in music, that thou, fatherland of this extensive mother country, which but emulates thee in her aspirations to, ad her appreciation of the beautiful, that thou shouldst prove the pertinence of his parable, and show the world that ostentatious aspect, pompous manner, and noisy vociferations will not help a cock to estimate a jewel? If this allegation be not true, it is for the musicians of Germany easily and promptly to disprove it; if it be not erroneous, the regret that every sincere lover of his art entertains of the fact must be exceeded by his disgust at the prejudice, or the pusillanimity, or the lethargy, or whatever agency, active or indifferent, may induce it. It may be true, or it may be erroneous, that Mendelssohn's merit is depreciated in his own country-leave we Germany to the bliss of her ignorance ;-while England indulges in the folly of wisdom, (if to be wise be to seek for beauty at the source whence beauty has been known to flow, and, having sought and having found, to observe until by knowing all that is beautiful in beauty, we can first justly estimate it), while England indulges in the folly of such wisdom, it may be said with truth, and it shall be said with pride, that the influence of Mendelssohn's genius upon the world grows from day to day. So greatly have the number and the extent of the performances of Mendelssohn's music increased in this country within these last few years, that it would seem his death opened a new channel for his popularity, which flows in an everswelling tide. His Elijah is proved to be the most attractive work that can be announced for public performance; his Symphonies in A major and in A minor, and his music in the Midsummer Night's Dream, are only less attractive in so far Price Fourpence Stamped Fivepence. as orchestral music is less generally appreciable than vocal; his concerted chamber music is played at every series of the now countless chamber concerts at which it is practicable; his solo music for the pianoforte, and his songs, the beauty of which is almost equalled by their almost infinite number, are in the repertory and in the constant practice of every dillettante. Mendelssohn is the musician of the present age; and if the most delicate subtlety of his most refined beauties be not immediately appreciable, the universal sympathy with his style is leading, by certain and not very slow degrees, to such a general intimacy with his works, as must make his deepest meaning obvious to all, and these are many, who have the inward capacity to perceive, and the outward candour to acknowledge beauty for the sake of beauty, apart from the influence of precedent and prejudice. The world admits not that the greatness of Mendelssohn is equal to that of Beethoven; but a large proportion of the world seck the works of Mendelssohn with more interest, and hear them with deeper sympathy than those of his last great predecessor, and such interest and such sympathy certainly grow with the growing knowledge of the músic. It is not here to discuss the relative merits of Mendelssohn and any other musician, but to assert, and to prove, from private expression, and from public manifestation, that the more the music of Mendelssohn is known the more his greatness is felt and acknowledged ; and the more his greatness is felt and acknowledged, the more extensively and the more generally does his music become known. It is received as an axiom that England is not a musical nation; and the beauty of our national tunes, the supremacy of the coatrapuntal skill of our composers of the Madrigalian era, the prodigiousness and the independency of Purcell's genius, which broke through the artificial trammels by which music had ever been fettered, and first penetrated into the freedom of nature, and the outbreak of genuine talent in all classes of composition that characterises the present age, these are not acceptable as evidence against what I must denounce as a vulgar error. It is easier to disprove a fallacy than to uproot a prejudice that is founded upon one; and though I will not admit it, I must argue as though England were not a musical nation, as if the composers of the present day did not write; as if Purcell had not originated more things in harmony and in musical feeling than any other known musician, as if the English Madrigalists had not been the acknowledged best musicians of their age; and as if the truly beautiful national songs of England were not unsurpassable by the national music of any other country in the world. But, while the creative power is disacknowledged There needs no Pythian oracle to reveal, no venerable amongst us, it cannot be questioned that the appreciative power Tiresias to interpret who are they that might, but do not, exin music is in this country most obviously and most impedite the publication of these most interesting relics, that portantly manifested; to this are due all the music of stand in the relationship to the world of defrauding us of the Handel, the most important of the Symphonies of Haydn, interest of our intelligence by witholding the capital which is the ninth Symphony of Beethoven, and the Oberon of Weber; due to us, and which if we possessed, it would become daily to this is due the first production of many of Mendelssohn's of more value in consequence of our daily accumulating comgreatest works, if not, as is often declared, the first acknow- prehension of its value, since beauty is not complete in itself, ledgment of his genius, and to this is due the posthumous but needs the appreciative faculty of the observer for a homage that is here paid, with all our hearts and with all our medium in which to express itself. I say, there needs no intelligence, to his immortal greatness, at the time when, as we extraordinary power to explain who are they that defraud us, are told, his own country, if not wholly disavows, is cer- the world, of the property which is our right, the property, tainly indifferent to it. Not to be a musical nation is no common to all the world, of a great man's thoughts, since what disgrace when such is the evidence of our unmusicality; I, for is familiar to many needs not be mystery to any. To make one, am proud of it. clear, however, in whom the responsibility strictly lies it will be requisite briefly to relate the course of proceedings with regard to Mendelssohn's manuscripts, as I have received it from an authority that is unquestionable. Since the death of Mendelssohn there have been published, from time to time, some six-and-twenty of his compositions, of which the fragments of the projected Oratorio of Christus formed, I believe, the last. These include, first and chief, the Symphony in A major; then there are the Quintet in B flat, the Quartet in F minor, the music for Edipus in Colonos, the music for Athaliah, the Operetta of Stranger and Son, the fragment of the projected Opera of Loreley, and other works which, if of less general interest are not of less individual merit, each according to its particular purpose. These several works have each, in succession, been received with the liveliest possible interest, as the legacy of a great master to the world, and they have been found to fulfil all that faith in a great master could lead one to expect. Amongst them are some of those manifestations of his genius which are, and in after times will be felt to be, acknowledged to be, his noblest and his most enduring. The world, at least the world in England, the land of Handel's adoption, and the country for which Haydn and Beethoven wrote their most important works, and where Weber produced his last-the world has done justice to the memory of one who has had an imperishable influence upon modern art, in the eagerness with which they have welcomed the successive appearance of each new posthumous production; and the world, at least the world in England, has acknowledged that this welcome has been worthily bestowed, in the enthusiasm that each successive posthumous production kindles in them. The question now becomes very general, as it is perfectly natural, how many unpublished works has Mendelssohn left? This most interesting question I am enabled, somewhat vaguely, but on unquestionable authority, to answer, in these few words, namely:- Very many more than double the number of the whole amount of his works that have been at present printed, both before and since his death! This suggests another equally important question, namely, how long will it require to bring all these remaining unpublished works before the world? As the answer to which depends upon contingences, and not upon fact, it is for those only who control such contingences, to render it. NEWSPAPE Madame Mendelssohn, at the death of the composer, confided all her husband's manuscripts to Mons. Paul Mendelssohn, his brother, the banker of Berlin. M. Paul Mendelssohn, not being practieally familiar with music, thought proper to depute the inspection and disposal of these manuscripts to M. Schleinitz, a distinguished musical amateur, and a particular friend and confidant of the deceased, who, residing in Leipzig, where Mendelssohn died, took immediate possession of the papers. Now, it appears, that M. Schlienitz, whatever his musical acquirements, of which a most honourable report is made, must be a gentleman endowed with such a faculty of long-sightedness as has fallen to the lot of few since the days of the holy prophets, for he must have considered eternity and next week to be so entirely indifferent definitions of temporal duration that to overlive the one or to attain the other might be equally probable to us all. It will scarcely be believed of any one, and yet it is the truth, of M. Schleinitz that he proposed to produce the posthumous works of Mendelssohn, for which the eager anxiety of the world is known to all the world, that he proposed to produce these at an average of some one in a twelvemonth. Some one in a twelvemonth! Which primeval, which truly patriarchial purpose, is utterly remote in principle from the era of the steam engine, would have necessitated a delay of about four hundred years before the entire publication could have been completed. Only one explanation can have been suggested of this truly monstrous intention of a gentleman whose known zeal in the cause of music has elicited for him the respect of all to whom his name has reached, and gained for him a position in the city where he resides, that few, if any, amateurs, have ever held, which explanation would be too absurd to propose in a serious discussion, were it not that the proposition on which it is a comment, was in itself so absurd as to change hyperbole into matter-of-course by the comparison; and this is, that M. Schleinitz, being passionately fond of the music of Men |