, 1869-03-15

ahe difference in biz garb. al EaEe him 40
exception al X litastne+t, and when he deeid-
cd TO re.irn, a load must hare been removed
from his mind. He b. not Eenislity enough
punishuent qDss ion would Be much better
In somebody else's hands. HI. aermonizing
will be taken for mere Quakerisn.
The OF ly Other topic Of general In poteancc
stane tnE over, Ia the bill which gentleman
who 1eplcteLts one OF the northern horougns
socialions, and the disposal Of their funds.
There will he q hard fight over this, and the
result y Ill khp4 inst what amount OF politf.
csl strength BE Reform bill has brought to
the ork antxAeInns Of mechanics aud artiEans
u hich extend like tetwork over the latd.
TIE OPERA IN ES0LAfp-coScxa1s AND
COSCERT-GoERs.
There Is to be but one Italian Opera House
Open in LoDdun this seasou. The enormous
expense Of bahd. chorus, principals, &C., is
tu1nous unless there be great and permanent
attraction. Without suhTentton, In fact,
he carried On without risk In France, Gerna~
NJ, Italy, RussIs or England. An attempt
Is 10 be mace to keep open an English opera
ht use, but tad results OF late years have be-
fallen such attemrts. London wants both
experie1 ced and accomplished creatlFe
and executive genius to fnrn1sh the
neaus for composition. fcz singing
2bA a44 WN4CaLA II &E3Ou1Sk-3- A2E1C - Ath =
single complete oschestrR IN Enz9and com
posed entirely Of English musicians. For
more than year, no ofatodo, no ymohony,
DO opera from the pen Of an English CON-
poser, has been produced. but part-songs, an
thems, polkas, and Nalttes crop up In abun-
dance. What are called "benent conccrts"
annually Increase In number. The pro.
cemposltlopa, grand orchestral music With
out m orchestra, md drawing room songs
not eulted for the pnbllc room. Focalists
and soloists are lmportuned 10 lend their
kind assktacce, and, Of course, beneGclaries
relying sohl i upon the gratu!tous assl!tsoce
90 exsctine "a 10 require reheaIsals.
hence confusion often ensues. The majority
Of benefit concerts are attended chiefly By
the nt uds or patrons Of the professional
who Is at the head-ptrsons who are under
obligations for contributions Of musical enc
teri ait Meuts for their TAT homes.n Fanl-
lies out OF respect to the professor, instEuct-
er Of then children, often purchase dozen
tickets for an evening concert which they arc
uIahle to attend, and Peeress has been
brought shoulder to shoulder with her
ari2hbor's waiting maid in the reserved
artists + ho both compose and play CON-
posers who do not play. players who do not
CON pose, and otnldciaFtes who neither com.
pose, nor sing, uor play.
Mr. Ella, 4 veteran musician Of tho first
rank In London, nrgea that ensorts ought
to be suppressed. They fatigue the artists,
protract the performances ard are sure to
displease some Of the audience. In classical
works OF grand dimensions, the repetition Of
any one movement damages the eject Of that
y bich follows. in sacfed and secular works,
familiar to the public, certain tayor1tc pieces
are stereotyped tneores. quite irrespective Of
the style in which they srt occasionally
given. 4 tew top notes, delivered with an
inflated cheat, for final cadenc. con tatta
fra, arc sure bsit to secure an encore to
= young, aspiring vocalist. Tenor singers,
With tender ,hr ats, suffer most
In complying With thesa indiscrtet
dcmandt npon their e1ertlons. II il
related Of the famous DEakonetti, that, after
performing most fatlgufnK solo on the dou-
bic bast, be obstinatcly refused to obey the
call for an encort. After considerable delay,
be said to the manager, Well, play encore,
but you pay encore" and ten gnineas was
the penalty which that encore cost the man.
ager. II popular singers, Aunoyed With the
public deaift for eneorts, were to adopt the
same system, managers would soon take
meacs to suppress this nuisance, Or else sing.
er1 SSnr1A hErnrnA tn1f,t.n }ros