MAGDEBURG.

Although the delight and zealous participation in musical performances has of late tended to increase very considerably the number of Musical festivals, there has not been one held in Magdeburg for the last nine years. It has been announced that a grand festival should take place there on the 28th, 29th, and 30th May. The following works are selected for performance:-Handel's Oratorio, Joshua, on the first day; and on the third day, Mozart's Easter Hymn, a composition of the 24th Psalm, by Fr. Schneider, Beethoven's Sinfonia Eroica, and a Symphony, by Kalliwoda. The second day to be devoted, as there would be so many distinguished virtuosi on the spot, to a general concert, which was expected to be of a very brilliant character. The direction and conducting of the whole was undertaken by Music-Director Dr. Schneider, from Dessau, the members of whose vocal institution were to assist in the performance. The number engaged for the orchestra is stated to exceed one hundred and fifty persons; the solo singers and chorus amount to upwards of two hundred and fifty.

HEIDELBERG.

The Musical Society here have made arrangements for an Annual Festival, to afford the friends of the art a similar enjoyment to that yielded by the Festival of the Lower Rhine; the first performance was announced to take place on the 15th May, and, weather permitting, on the ruins of the castle, when Haydn's Creation was to be given under the direction of M. Bernhard Kreutzer.

BASLE.

Our Subscription Amateur Concerts this year, led by Music-Director Joseph Wassermann, have been received with the liveliest applause. The most important orchestral compositions performed were symphonies of Beethoven, Mozart, Haydn, Neukomm, and Kalliwoda, Weber's Overtures to Der Freyschütz, Der Beherrscher der Geister (Ruler of the Spirits), and Jubilee Overture, Auber's Stumme, and Fra Diavolo, besides others by Beethoven, Cherubini, Méhul, Lindpaintner, and Rossini. Demoiselle von Dulcken, a pupil of the Conservatoire in Paris, was engaged as principal singer: she has a good style and flexibility, and sings with taste. Solos were played on the violin by M. Wassermann, a pupil of Spohr's; on the violoncello, by M. Oswald, from Munich, seventeen years of age; and on the oboe, by M. Reuther, a distinguished virtuoso from Carlsruhe.

THE DRAMA.

KING'S THEATRE.

15th century a better period for his drama, and the second Mahomethe who with his own hand cut off the head of his beloved mistress, the beauteous Irene-a character more likely to interest than the Turkish general Kara Massa, and made his dispositions accordingly.

The present story is this:-Corinth is besieged by Mahomet. Cleomenes has promised his daughter to Neocles, but she, having seen and become enamoured of Almanzor, hesitates to comply with her father's wish. Cleomenes and Neocles are made prisoners; Pamira seeks them in the tent of Mahomet, whom she discovers to be her Almanzor. She claims Neocles as her brother, and obtains the release of Cleomenes. But love of country triumphs over her love for the supposed Almanzor; she espouses Neocles. Mahomet advances, is on the point of taking Pamira by force, who saves herself at the moment by her dagger; but whether she finally plunges it into her bosom, whether she dies at all, or falls into the power of the conqueror, does not appear. Corinth is taken, reduced to ashes, and the scene of conflagration terminates the opera. This scene has been praised by the papers. It is perfectly ridiculous. So little is perspective attended to, that the assailants seem nearly as tall as the towers of the city, the tops of which they might have reached in one easy leap; and by stretching out their hands, carrying a piece of lighted paper in them, they could easily have set the whole of Corinth in a blaze, without the trouble of throwing shells, and the waste of combustible materials.

ROSSINI's Donna del Lago was revived on the 27th of May, an opera with a good and popular subject for its libretto, and having to boast of two if not three original, striking melodies, which catch the ear, and remain long in the memory-qualities of high value; but it must otherwise be numbered with the composer's rather feeble works: though, compared with the productions of his imitators, of the servile herd, whom the love of novelty in name keeps afloat for a time, it stands high in the list of musical dramas. Signora Grisi exerted all her powers to support it, especially in Cielo, il mio labbro inspira ;' though this delicious quartet belongs not to the opera, but is an auxiliary from Bianca e Falliero, and has been employed to reinforce more than one opera during the last dozen years. The part Malcom was performed by a Malle. Degli Anton, who has no chance, unless she improves wonderfully, of ever rivalling those who have been

successful in the character.

of

On the 12th of June, L'Assedio di Corinto, a lyric tragedy,' was performed for the first time on this stage. In 1820 Rossini wrote for and produced at Venice his Maometto II., which signally failed. The story of the latter pretends to be that of Byron's Siege of Corinth, but it is altered with the ill-luck usually attending the attempts of poets attached to the Italian theatres. In 1826, Rossini having engaged to compose an opera for the Académie Royale de Musique, it struck him that he might turn his neglected work to account; by the omission therefore of some few pieces, the addition of others, and a translation into the French language, Maometto was metamorphosed into Le Siége de Corinthe, and the Parisians received it with acclamations; for not only was the Greek cause then popular-not only were they flattered by having an opera in their own beloved tongue from the pen of the gran maestro, but they really knew better than the Venetians how to appreciate much that it contained. This, re-translated, is the opera now performing, and is thus cast:Maometto II., Emperor of the Turks

Cleomenes, Governor of Corinth

Neocles, a young Greek officer

Hieros, guardian keeper of the tombs

Pamira, daughter of Cleomenes

SIGNOR TAMBURINI, M. IVANHOFF. SIGNOR RUBINI.

SIGNORA GIULIETTA GRISI. SIGNOR GIUBILEI. The fact of the siege and destruction of Corinth is historical, and

The music is in Rossini's second style-that which he adopted when he became a convert to the superior merit of the German school. The concerted pieces are numerous, the single airs very sparingly scattered. The accompaniments are full, and, but that the scene is laid amidst the horrors of a siege, we should think them too violent. The The Turkish overture is all, except a short, sweet andante, sheer noise. unmusical instruments may be very characteristic, but a severe headache is too great a price to pay for such propriety. The Introduzione is, for the most part, masterly, pleasing, and free from mannerism. The terzetto, Destin terribile,' the first half in the minor key, the second in the major, and in canone, if we mistake not, is pathetic and charming. In the ninth scene is a beautiful air, and chorus of women; but in the same, Rossini is guilty of one of his most unpardonable sins. What must be thought of a very lively, an almost comic, melody, to the following words?— L'alma che geme

Non ha più speme,
Più non resiste
Al suo dolor.'

In Act ii. Scene 2, is an air, Dall' asilo della pace,' by Signor Costa, written purposely for the prima donna to display her flexibility of voice and perfection of execution. It is well contrived for this, and practice of such interpolations. If necessary to strengthen a part by creditable to the composer; though we protest vehemently against the any addition, this should be made, whenever possible, from the works of the same master. There would have been no difficulty in finding something by Rossini to answer the purpose. In Scene 4 of the same act, simple counterpoint, is exceedingly beautiful; and in Scene 6 is a gentle the chorus Divin profeta,' a larghetto in three-four time, a piece of and most pleasing trio, O sol di chi l'adora,' and a splendid duet, 'Ah! cielo! che veggo?' But the finale to this act is in the composer's most noisy, commonest, worst manner. In the third act, which was added for the French stage, is a good preghiera, or prayer; also a terzetto; though this is imitated from the Mosè in Egitto.

L'Assedio di Corinto will not be popular here, as now brought out. It might have been made more interesting, both dramatically and musically, and rendered a useful stock-piece: as it is, it will seldom be given, and never draw an audience by the force of its own attractions. The performers exerted themselves much to support it; the management did little or nothing. The dresses, except of the three or four principals, are shabby, and in bad costume: the scenery abominable.

Grisi omitted all her part, except what was indispensably necessary to On Tuesday, the 17th ult., this opera was repeated, when Signora the dialogue: indeed the last and most important scene she left out altogether, so that the dénouement was brought about by the burning of Philharmonic, and at Covent Garden, perfectly well: she performed at a little tow, dipped in spirits of wine. She had sung the night before at the two or three places on the following Wednesday, yet could hardly open her mouth on the intermediate day! The fact is, that the Italian theatre pays by the season-if it does pay-concerts by the night. At the one, sing or not, the salary is demanded; at the others, no sing, no pay, is the rule. On the same night, Mademoiselle Taglioni, who was advertised to perform, never made her appearance, and no excuse was offered for her absence. M. Laporte was called, who was as flippant as usual. When asked if Taglioni did not absent herself on account of the non-payment of her salary, he replied by a shrug of the shoulders. Yet the public bear with all this! Foreigners may well ridicule our fashionables; they are the most patient under insult, the best and greatest dupes that all Europe can produce.

DUET.-(Page 69.)

Time has not thinn'd my flowing hair,
Nor bent me with his iron hand;
Ah! why so soon the blossom tear,
'Ere Autumn yet the fruit demand?

Let me enjoy the cheerful day,

'Till many a year has o'er me roll'd; Pleas'd, let me trifle life away,

And sing of love 'ere I grow old.

These verses were altered by the composer, William Jackson, of Exeter, from the fifth and seventh stanzas of Hammond's fourth Elegy.'

James Hammond, Esq., whose love elegies all who now find time to read the poets of the early part of the last century agree in admiring, was born about the year 1710, and died in 1742. His elegies, imitated from Tibullus, are addressed, not to an imaginary mistress, but to a lady named Dashwood, who, untouched by the poetry of her warm admirer, made no return to his passion, and died single. [Concerning the composer, vide p. 25.] We have transposed the music from A to G, knowing by experience that few voices can with the ease that is desirable sing it in the former key.

ARIA-(Page 72.)

With verdure clad the fields appear,
In nature's softest hue attired;

By flowers perfumed and gay,

The senses through long months are charmed.
Here fragrant herbs diffuse their sweets,-

Here shoots the healing plant: With luscious fruit the yielding boughs are hung; In leafy arches twine the shady groves, And forests brown o'er lofty summits wave. From the first part of Haydn's Creation, the text of which was written, in German, by the Baron Von Swieten, and by him translated into English. We were, during many years, content in this country with the rude version; but the absurdity of it at length led to some corrections. We have made many more alterations in the words of the air now inserted, which now are at least intelligible.

THE MANSION OF PEACE-(Page 75.)

Soft zephyr, on thy balmy wing,

Thy gentlest breezes hither bring.

Her slumbers guard, some hand divine!
Ah! watch her with a care like mine.

A rose from her bosom has strayed,
I'll seek to replace it with art.
But no! 'twill her slumbers invade ;

I'll wear it, fond youth, next my heart. Alas! silly rose, had'st thou known

'Twas Daphne that gave thee thy place, Thou ne'er from thy station had'st flown; Her bosom's the mansion of peace.

The author of the words is unknown. The music, which was, and deserved to be, universally admired some forty years ago, and is formed of durable materials, is the composition of

SAMUEL WEBLE,

6

born in 1740, the son of a gentleman who held an office in Minorca under the British Government, where he died suddenly, and his family not being able to obtain possession of his property, his son was placed with a cabinet-maker. But when his term was out, he commenced a course of self-education, and laboured till he acquired a knowledge of the Latin, French, and Italian studies, in which his progress was so great that at the age of languages. About the same time he added music to his other twenty-six he obtained a prize-medal from the Catch-club. In 1768 he received a second, for his glee A generous friendship.' Between that year and 1792 no less than twenty-seven medals were adjudged to him. But four of his finest compositions,' it is remarked in the Harmonicon, namely, "When winds breathe soft," "Hence all ye vain delights," "The mighty conqueror," candidates for the golden honours bestowed on works of inferior and "To me the wanton girls insulting say," were unsuccesful merit; while of many of the medals he obtained, not more than Eight, indeed, were the reward of useless mechanical labour, seven or eight were given for compositions that are now known. exhibited in the form of canons, none of which have survived the composer; and seven were the meed of catches, one of which, "To the old, long life and treasure," still maintains its ground.' In 1784 Mr. Webbe was appointed Secretary to the Noblemen's Catch-club; and in 1787 he became a professional member and librarian of the Glee-club, then newly established. It was for this society he wrote both words and music of Glorious Apollo.' He now added an extensive knowledge of German and Hebrew to his other acquirements, and,' says the work just quoted, 'made himself conversant in many branches of polite literature. He even wooed the Muses, and of several of his works the poetry as well as music is believed to be from his pen. He also excelled in fencing and dancing, and added to his various accomplishments a simplicity of manners and benevolence of disposition, that endeared him to a large circle of acquaintance, among whom were some of the most distinguished persons of the day.'

Mr. Webbe was the author of 107 glees, besides masses, anthems, single songs, &c. He died in 1817.

just received it, with a strong recommendation. The melodious- | ness of the subject, and the clever, pleasing manner in which the variations now selected are written, made us determine to print it. M. Plachy is a German, living, we believe, in Vienna. He has within the last few years published several works, that display genius as well as scientific knowledge.

CHORUS, THE FOURTH PLAGUE OF EGYPT-(Page 86). Do. THE SIXTH PLAGUE—(Page 88).

Do. THE SEVENTH PLAGUE-(Page 88). These are the four consecutive choruses in Israel in Egypt, which, at the Commemoration of Handel, and again at the late Festival, produced so powerful an effect. They are now newly arranged from the original score. The symphony to the Hailstone chorus, should be played quite staccato till the voices come in. He sent a thick darkness' is legato all through, except the notes marked otherwise.. He smote all the first-born' requires. to be played with spirit; the notes and chords separated by rests, are strong and short. In the second movement of this, the opening, and the same passage whenever it occurs, must be played rather staccato, and brilliantly, but the soft passages, at 'He led them forth like sheep,' all legato: the point, He brought them out,' in a bold animated manner.

6

From ye without a pang I fly,
And drop no tear, and heave no sigh;
But, Anna, forced from thee to part,
What anguish swells my rending heart!
Adieu!

The words we found set to an old glee, and can assign no author to them. We have altered the lines considerably in adapting them to the present air.

The music is by C. G. REISSIGER, of whom we only know that he is a very rising composer in Germany, where the air has recently been published, as one of six Gesänge und Lieder für eine Sopran oder tenor stimme.'

GLEE,-(Page 78).

Ne'er trouble thyself with the times nor their turning,
Afflictions run circular, and wheel about;
Away with thy murmuring, and thy heart-burning,
With love and with hope we will drive all care out.*
Ne'er chain nor imprison thy soul up in sorrow;
What fails us to-day may befriend us to-morrow.

This first appeared in Playford's Musical Companion,' published in 1673, from which we have extracted and scored it. The glee is there printed in single parts, that for the second voice being reversed,-turned upside down, to enable a performer on the opposite side of the table to sing from the same book. The author of the words is not mentioned. The composer is

MATTHEW LOCK,

so celebrated for his music in Macbeth. He was a native of

Exeter, where he was first instructed in music by the organist, Wake, but afterwards studied under Edward Gibbons, a son of the famous Orlando Gibbons. Soon after the restoration he was appointed composer in ordinary to the Royal Chapels.

Lock was the first who composed regular music for the English stage. He began with Shakspeare's Tempest. The next was Psyche, which was followed by Macbeth, performed in 1674. He was also the first to publish rules for thorough-base, which appeared in 1673, under the title of Melothesia. He was author of several songs in The Theater of Music,' The Treasury of Music,' and other collections of his day. The professional character of Lock,' it is observed in the Harmonicon, is thus summed up by Dr. Burney: " He was the first who furnished our stage with music in which a spark of genius was discoverable;

In the original, this line stands thus,—

With the juice of the grape we'll quench the fire out.

and, who, indeed was the best secular composer our country could boast till the time of Purcell." But this,' adds the former, 'is cold and inadequate praise. The music in Macbeth is a lasting monument of the author's creative power, and of his judgment. If the age in which it was produced, the infantine state of dramatic music at that period, the paucity and imperfection of instruments, and the humble condition of what was then called an orchestra, be all duly considered, his work will be described, not as a spark, but as a blaze of genius, the brightness of which neither years nor comparison have been able to dim.'

SONG,-(Page 80).

The Woodman.

Stay, traveller, tarry here to-night,
The rain yet beats, the wind is loud;
The moon, too, has withdrawn her light,
And gone to sleep behind a cloud.

'Tis seven long miles across the moor,
And should you chance to go astray,
You'll meet, I fear, no friendly door,
Nor soul to tell the ready way.
Come, dearest Kate, our meal prepare,
This stranger shall partake our best;
A cake and rasher be his fare,

With ale that makes the weary blest.
Approach the hearth, there take a place,
And till the hour of rest draws nigh,
Of Robin Hood and Chevy-Chace
We'll sing, then to our pallets hie.
Had I the means, I'd use you well;
'Tis little I have got to boast:
Yet should you of this cottage tell,

Say Hal the Woodman was your host.

The words by WILLIAM PEARCE, a successful dramatic writer at the end of the last century. He was author of The Nunnery, 1785; Netley Abbey, 1794; Windsor Castle, 1795, &c. The music is by

THOMAS LINLEY,

to whom we are indebted for some of our best English operas. He was born about the year 1730, and received instructions in music first from Chilcot, organist at Bath, then from the celebrated Paradies. Assisted by the high talents of his two daughters afterwards Mrs. Sheridan and Mrs. Tickell-he originated and carried on during many years concerts at Bath, which much contributed to the popularity which that city so long enjoyed. In 1774, Mr. Christopher Smith, the secretary and friend of Handel, having declared his intention of relinquishing the management of the London oratorios, Mr. Linley, by the advice of his son-in-law, Mr. Sheridan, united with Mr. Stanley in carrying them on, and continued them several years. On the death of Stanley, Dr. Arnold joined him.

In 1775, The Duenna, to which he composed and adapted the music, was brought out, and ran uninterruptedly seventy-five nights. In 1779, he purchased a large share in Drury Lane Theatre, where he produced The Carnival of Venice; Selima and Azor, from the French; The Camp, one of Sheridan's best operas; The Spanish Maid; &c. His Six Elegies were produced at Bath; and his Twelve Ballads, after the death of his favourite son, Thomas, a young man of extraordinary genius, who was upset in a boat and drowned, while on a visit to the Duke of Ancaster, at Grimsthorpe, in Lincolnshire. The first ballad refers to that untimely event. ‹ The works left at the death of the father the death of the former,' which took place in 1795.* These contain and his son, were collected and published in two volumes after ' a rich assemblage of songs, madrigals, elegies,' &c.; one of them, that unrivalled madrigal from Cowley:

'Let me, careless and unthoughtful lying,
Hear the soft winds above me flying.'

* Of Mr. Linley's many children but one survives, William Linley, Esq., who, when young, was, by Mr. Fox, appointed to a writership at Madras; and he subsequently filled the responsible offices of provincial paymaster at Vellore, and sub-treasurer at the presidency, Fort St. George. He returned from India early, with an easy independence, and has devoted much of his time to composition. His glees, which are numerous, rank, for genius and taste, with the best productions of this country. He is also the author of some literary works, particularly an elegy on the death of his sister, Mrs. Sheridan, which appears in Moore's Life of Sheridan.'

CANZONET (Page 82).

Far from this throbbing bosom haste,
Ye doubts and fears that lay it waste:
Dear anxious days of pleasing pain,
Fly, never to return again.

But ah! return, ye smiling hours,

By careless fancy crowned with flowers.
Come, fairy-joys and wishes gay,
And dance in sportive rounds away.
So shall the moments gaily glide

O'er various life's tumultuous tide,

Nor sad regrets disturb their course
To calm oblivion's peaceful source.

in making the various arrangements ought to have been aware that woollen substances are non-conductors of sound-an acous tical fact no less notorious than important-and that it was his or their duty either to prevent so extravagant a use of anything of the cloth kind, or to yield only under protest.

But let us inquire what musical advice was taken in preparing and carrying through this festival?

After the King had signified his royal will, Sir G. Smart issued a circular to about seventy professors of music, not all of them conjurers, as the Times shrewdly guessed; on which a large and ill-assorted group assembled, once, and once only; and for such important service they received a letter of thanks. At the meeting of this collective wisdom of the musical profession, it was very

THE ROYAL MUSICAL FESTIVAL IN WEST-
MINSTER ABBEY.

In the two first Numbers of this work we have entered into a rather detailed account of the commemoration of Handel in 1784, and of the Musical Festivals which were celebrated under the same roof till the year 1791 inclusive, when they were discontinued. We have shown that the performers in the first year were 513 in number, exclusive of the principal singers; that in 1785 they were increased to 616; in 1786, to 741; in 1787, to 825; in 1790 to a still greater number; and in 1791, to 1067. That the gross sum received at these performances amounted to nearly 51,000l., and the net profits to upwards of 26,000l.; and that of the latter 16,000l. were given to the Royal Society of Musicians, 5,500l. to the Westminster Hospital, and 4,500l. to St. George's Hospital.

That the lustre of the commemoration of Handel has not been dimmed by the late Festival, we may safely assert, on the authority of one now nearly an octogenarian, a good and candid critic, who was present at both, and is not likely to be swayed by prejudice; whose judgment is unimpaired, and who can have no motive whatever for disguising his real opinion. Dr. Burney, too, an accurate observer, speaks of the performances in 1784 as having been perfect. It must, however, be granted, that not only did the performers on the present occasion exceed in number those collected fifty years ago, but that they generally were more experienced, if not otherwise superior. Allowing this, were there no advantages on the side of the commemoration that balance those possessed on the recent occasion? We are persuaded there were, and will mention one that cannot be disputed, a singularly important one-the fittings-up of the whole interior of the nave and aisles.

:

In 1784, and indeed in the five subsequent years, the wood fronts of the galleries and orchestra were covered with paper coloured in a highly appropriate Gothic style, a very small, light festoon of fringed crimson morine hanging as a finish from the cushions on the ledges. The seats throughout, and the slender back-rails of these, were also covered by the same material; but not a morsel was used except where absolutely required. At the Festival just concluded, the woollen manufacturers' interest seems to have been especially consulted; wherever a frontage presented itself it was loaded from top to bottom with thick drugget. The galleries, the orchestra, displayed a continuous expanse of soundsubduing cloth and even the benches were completely clad in raiment of the same stuff; they were petticoated to the very floor with this woollen absorbent, as if an excess of sound had been apprehended, and therefore means taken to prevent the ears of the groundlings' from being split' by the too powerful bursts of the orchestra. Whatever the intent, the result is not to be denied; the combined sounds of six hundred voices and instruments reached the auditors as if passing through some resisting medium, and two-thirds of the performers, if they had not had so formidable an impediment to oppose, would have proved much more effective. Those who heard the music in York Cathedral in 1825, declare that, with about the same number of performers, but in an area of more than double that of Westminster Abbey, therefore requiring a proportionate body of sound to fill it, the effect was greater than that just witnessed in the capital of the empire, where whatever could have given unrivalled grandeur to the performances was within easy reach of the managers.

Where the blame of this rests we know not, but we may without fear of contradiction assert, that the musical authority consulted

gether silently to approve what would be laid before them, and not to examine and discuss. Whereupon not a question was mooted; and, instead of indignantly dissolving immediately, these gentlemen, these willing dupes, obediently became actors in the mockery, and patiently remained, to make themselves responsible, if peradventure called to account, for resolutions in the formation of which they had not been consulted, and which they were virtually prohibited from considering. This Committee of Musical Professors,' then, clearly, were never asked for any advice at all. But there was a Sub-Committee,' of some six or seven professors, how chosen we have not learnt, and whose names do not now all occur to us; we, however, have heard that this was so contrived as to be in effect a committee of one; and to this committee, whether of one or many, all the credit is due, we are told, that accrues from the advice on musical matters given to the board of Directors. The value of the advice may be estimated by the effect of the sound, the selection of the music, the engagement of what were termed the principal singers, and the distribution of the parts among them.

The nave of the Abbey is 150 feet long, and, including the aisles, 72 feet wide, its height 101 feet. This space was converted into a grand saloon, at the west end of which was erected the orchestra, rising from about eight feet from the floor, to the middle of the great window, the principal singers and the instrumental performers occupying the nave part, the chorus filling the portion in the aisles up to the tops of the arches. At the east end the royal box was placed, on the right and left of which were boxes for the court attendants. Below these were, on the right a box for the bench of bishops, on the left one for the dean and prebendaries of the church, and in the centre, just below their Majesties, the eight directors took their seats. At the same end, and at the back of the line of royal boxes, arose galleries, not included in the original plan, appropriated to the friends of the Directors. In each aisle was built a long deep gallery, extending from the orchestra to the royal boxes, and projecting from the wall to about three feet beyond the columns. The galleries contained several rows of seats, rising to the key-stones of the arches. The aisles below were fitted up in a manner similar to the galleries. The whole floor was covered by planks of wood, and in the nave, allowing a passage on each side, were ranged 38 rows of transverse benches, each holding sixteen persons.

To assist this description, we have availed ourselves of the kindness of the proprietors of the Penny Magazine, who have allowed us to use the very accurate and beautiful wood-engraving, executed for their work, of the royal boxes, and other seats connected with those, at the east end of the nave. The organ, seen at the back of the king's box, is that belonging to the church, standing over the screen, at the west end of the choir.

The three front seats in the galleries, the two front ones in the aisles below, and the whole of those in the nave, were reserved seats, at two guineas each. The galleries above the boxes allotted to the royal attendants were also reserved, and at the same price. The back parts of the great galleries, and the corresponding places beneath, were open to one guinea tickets. And here we must remark, that some of even the reserved seats were so situated, immediately behind the columns, that it was utterly hopeless for the occupiers to attempt to hear, except through a mass of stone, or to see any part of the orchestra or of the places of honour. A want of good faith was thus betrayed, which not only justifies, but calls for the severest reprehension. Indeed, even the guinea tickets ought to have been so limited, that every purchaser would be sure of a seat-of a seat in which seeing and hearing were within the range of possibility. Instead of which, numberless persons who at the earliest opportunity had

provided themselves with tickets of this description, were obliged to stand through the whole performance, in the midst of a dense crowd, where the chief views were entirely cut off, and the sound arrived deadened by a circuitous route. More money was, doubtless, thus raised, but by means that would authorize the application of a very strong term. And such cupidity is less excusable, because it was from the first perfectly clear that the receipts would far exceed the expenditure.

We feel more satisfaction in stating, that the mode in which the tickets were issued-preventing as far as possible unfair preferences and jobbing-the ingress and egress, the arrangements concerning the carriages, the distribution and management of the police, &c., left nothing in these departments to be desired. The admission of several persons by money into the best part of the Abbey, on the last day, and apparently without any check, remains to be explained, and doubtless will be accounted for in a satisfactory manner. Though it is to be hoped that a practice so full of danger, and in open violation of the rule advertised, will not be drawn into a precedent.

Of the decorative part we cannot speak in very laudatory terms. The royal boxes (placed much too low) were overcharged with

gilding, and with badges, or orders, ornaments more in keeping with the gaudiness of a modern theatre than with the solemn character of a Gothic church. Indeed we understand that a person from one of the theatres was employed on this occasion.

The fronts of the galleries, by being brought too forward, gave a contracted appearance to the whole; and the seats underneath were thus not only rendered really gloomy and apparently close, but spoiled for hearing. However, all that relates to mere show is a very minor consideration compared with the serious injury inflicted by the prodigal use of cloth, or drugget; on which we have above dwelt, for the purpose of guarding future managers of Festivals against an error so universally acknowledged, and of such magnitude.

Of the music selected for this Festival, all agree that The Creation, Israel in Egypt, the portion of Judas Maccabeus, and The Messiah, were very properly chosen. Indeed there was no choice left, as relates to the two first and the last; they were imperatively called for. Of the selection from Samson, or at least of the place allotted to it,-of the music of Mozart, of Purcell, of Beethoven's Mount of Olives, &c. &c., we entertain a very different opinion, an opinion which we find is also that of all un