The Sun.
London, England, 1862-12-09 00:00:00

HAY MARKETS.

SMITHFIELD.—Meadow hay, £2 Os to £4 5s Od; clover,
do., £3 lOs to £5 10s Od ; and straw, £1 12s to £1 16s per
load. Supply moderate; trade dull.
CUMBERLAND..—Mewtow hay, £2 Os to £4 53; clover,
£3 lOs to £5 10:3 Od ; and straw, £1 12s to £1 16s per load.
A slow trade.
WHITECHAPEL.—Meadow hay, £2 Os to Xi 5s Od;
cloves, do., £3 10s to £5 lOs ; and straw, /1 123 to ..€1 16s
per load. Trade dull.

COLONIAL.
7TEA—There has been very little business transacted, and
prices have remained without any material variation.
SUGAR—The market has been dull, and in some instances
prices have shown a slight downward movement. Refined
descriptions haw!? been in moderate request at about pre-
vious quotations.,
COFFRE—OuIy limited dealings have been recorded in
colonial descriptions, without any change of importance to
the better descriptions of East India there has
and, and late
There bas been rather
been
ciocaEi
aFvi
raoldrueems .
notice
prices have been generally
wellai aSr'ksLei market, dE
prices have been well sustained erde faocrtirveifityneind dthee-
c rriCPAtLi Inos).V —The market has been more animated, and busi-
ness continued moderately active for both present and fur-
ward delivery, l'
spring delivery 4Gs 9d
P.Y.C. on the spot being quoted 45s 6d, and

'IT US

'BY.

A correspondent in a letter to the Extzininer writes :
The Monday popular concerts at St. James's Hall are
worthy of commendation, but I think it is perfectly within

the scope of the fair critic to endeavour to keep them in

their true course of utility, and to point out any deviation

from good taste.

This is not to be achieved by that dull and fulsome pane-
gyric which so generally pervades the notices of concerts,
but by boldly and fairly pointing out absurdities, and how-
ever much we may be amused by Dundrear) ism at the liar
market we ought to be intolerant of it when we find it in
the Press. I have been *led to this train of thought by
having placed in my hand a book intended to be a pro-
gramme of one of these concerts, but so perfectly in-
comprehensible to the great bulk of concert-goers
in its obtrusive display of the jargon of the profession
that I venture to assert that not more than hcilf-a-
dozen of the audience would understand what it
means, while the six who did understand it would consider
it a display of musical pedantry in the worst taste, meant
to delude the ignorant into a belief that they had been lis-
tening to sounds which only the initiated could compre'
hend and properly enjoy. When Mr. T. P. Cooke, the_
melo-dramatio actor, was in the zenith of his popularity, be
went over to France and created a perfect furore by enact-

ing the Monster in Frankenstein. On one occasion he re-
ceived such an ovation, on being called before the curtain,
that he returned thanks in a short speech in English,
which was applauded to the echo, the people at the same
time saying to each other, what does he say, what does 110
mean? mais n'importo, c'est charmante. The difference
between Mr. T. P. Cooke's speech and these learned essays
being that the former was charmingly, the latter are stu-
pidly incomprehensible.
' *--

Every musician knows that tho seizing upon a certain

number of musical terms and technical phrases, and string'
ing them together, is in no way instructive nor of the least
use to the public ; it marks the empiric, and is simplY a
kind of musical Jenkinsism. Take the following as a
sample. Jenkins, of the Monday popular Concerts, writes
thus of a sonata by Beethoven :
" The subject is now conducted from F to C, just as pre-
viously it was conducted from Gto D. From C (the sub-

dominant) back to G the tonic principal) is an easy pr -
gression, Once again in Gwe have a brilliant develop-
ment, in unison of that feature of the leading subject,which
is continued in its second bar. The theme is then repeated
in G, and instead of the progression to D (the dominant of
G) we have a progression to F sharp (the dominant of B)•"

Kalleelialee, Kalleebala, what the deuce does he say ?

But patience, let us try on.
"This episode (writes Jenkins) together with the richly
harmonised codetta, which, when it has modulated to G (the
dominant of the principal key of C), begins thus mysteri-
ously : The elaborately-constructed bridge (query, asses:
bridge ?) over which we aro made to pass to the principal
subject is, perhaps, the most expressive part of the adagio,
it never becomes prolix, such is the variety and such the
skill with which it is wrought out."
Now behold, Jenkins rises to poetry :
" The last bars may be likened to the gradual fading away
of a prolonged and exciting dream."
Brave, bravo, Jenkins. Pro-di-gi-ous I
All this learning is to be bought for sixpence. The peoPl°
simply desire a bill of the performance, the names of the
vocal and instrumental performers, and particulars of what
they are going to sing and play; but Jenkins won't let theta
off so easily, and insists upon showing his wonderful erudi-
tion. I have now expressed pretty plainly my contempt 10r
this obtrusive pedantry, and to prove how easy it is t°
humbug the million let me venture to give you a pars;
phrase of the style upon which I have animadverted, and
recast its ideas into a readable form. As thus :
" We find, with reference to this musical gem of the gre3t
master, that the alteration in the harmony by the interven-
tion of the chord of the ninth brings the passage boldly il't
the mediant, from whence, gradually sliding by the
seventh of the sub-mediant, it returns and resumes its nani
ral position on the dominant of the key. The elaborate;
harmony in the foregoing progression is peculiar to Nal);
mann, but, no doubt, would have been severely reprehended
by Sarti and the pedants. Again, we find in a passage fr°—
~
Dussek's sonata, Op. 47, that he has recourse to that basil'
tiful chord of the fifteenth, the pathetic effect of which is ins
describable; we know of but one other instance in
it has been used by any composer of note, and that was °n
the memorable occasion when Stradella converted the as.
Basins who were sent to slay him in the church, and aleit„„,
them into tears of repentance, as his sympathetic Vcl;
mingled with the glorious strains he was playing 01' At„. ,t
organ in double counterpoint with a pedal bass. The lLe9;
of the chord of the fifteenth on those hardened ruffians il
been handed down to us as an historical fact, and we only
feel astonished that it has not been tried on the ticket-ola
leave men of the present day, who are commonly eelle
Jebb's Lambs."
uallf
Now, sir, I submit that while my musical lore is ell
as intelligible as that of Jenkins of the Monday P°Pu.cal
Concerts, I have interwoven anecdote with my l'au,s '
:vo.
gibberish. Let me claim them to be equally instrue"
but also more amusing than my learned pundit.

A NEW PENAL SET7LEMEN7.