'Salon Duettinen,' which he had already played this season as an encore. The vocalist was Miss Florence Hoskins, who displayed a good mezzo-soprano voice, though her efforts were somewhat marred by nervous

ness.

On Monday Beethoven's great Quartet in B flat headed the programme. This extraordinary work is seldom heard, probably on account of its extreme length, for it is easier to follow by ordinary listeners than any other of the so-called posthumous quartets. Indeed, with the exception of the first of the six movements, it shows a partial return to the com

poser's second manner. The performance was superb throughout, the ensemble being perfect. If it is necessary to particularize, we may instance the rendering of the lovely cavatina as being as fine an example of quartet playing as could be imagined. Beethoven was also represented by the 'Sonata Appassionata, ' of which Madame Frickenhaus was the executant. Her rendering was, on the whole, neat and refined, but greater breadth of style is needed for the interpretation of this work. Of Herr Joachim's performance of Bach's Chaconne nothing need be said. For an encore he played two movements of the same composer's Suite in

E.

Mozart's Pianoforte Trio in E, which is performed far more frequently than any of its companions, completed the instrumental selections. Mlle. Janson was heard to much advantage in Schubert's 'Der Tod und das Mädchen.'

The performances of Herr Stavenhagen at his second recital on Monday afternoon went to prove still further that he has the making of a great artist, but that unfortunately he leans too much in the direction of what is known as "virtuosity." His programme was made up of works by Beethoven, Chopin, and Liszt. Of the firstnamed master he gave the sonatas in E minor, Op. 90, and a sharp minor, Op. 27, No. 2. Nothing could be more exquisite than his rendering of the second movement of the former and the first two movements of the latter. But in the finale of the Moonlight' Sonata he was not content to let the music speak for itself, and his exaggerations and alterations of the text were extremely irritating to musicians. The same tendency to produce mere noise was observable in some of the Chopin selections. It is a great pity that when possessed of valuable gifts a young performer should condescend to use inartistic methods of gaining applause from vulgar listeners. It is not too late for Herr Stavenhagen to get rid of those defects in his playing which prevent us from giving him at once a place among genuine artists, and the hope may be expressed that he will take to heart

the criticisms his recent performances have evoked. Monday's programme included Chopin's 'Polonaise Fantaisie' in a flat, Op. 61, marked "First time of performance"-we know not with what authorityand Liszt's two legends, 'La Prédication des Oiseaux' and 'St. François marchant sur les Flots.' These last were beautifully played, but with them music as an art has little to do.

Handel's oratorio 'Saul' was performed at Novello's Oratorio Concerts on Tuesday night with, for the first time in London, Mr. E. Prout's additional accompaniments.

It will be remembered that these were used in the performance of the work at the last Birmingham Festival, and were recognized as in every way appropriate and artistic, save by those unpractical theorists who maintain that Handel's scores should be left in their unfinished state, which means, of course, that they should be placed on the shelf and denied to the public. It is futile to reason with persons who refuse to acknowledge plain facts, and we shall not attempt an unprofitable task. Neither is it necessary to speak at length concerning the merits of 'Saul,' as the work was described in

detail when it was revived by the Handel Society four years ago (Atheneum, No. 2992). Suffice it to say, that if it is less brilliant and varied in character than some of the other oratorios, it contains some of Handel's noblest music, and should not be permitted to sink again into neglect. It should be mentioned that in the new edition, which was used on Tuesday, many of the less interesting numbers are omitted, and the work is thus brought within reasonable limits as regards time. The performance as a whole was equal to the high standard observed at these concerts. Most of the choruses were finely sung, though occasionally a little want of precision was noticeable. Miss Anna Williams was somewhat overtaxed by having to sustain the whole of the soprano music, and dramatic consistency was outraged by the same vocalist singing the airs of Merab and Michal in succession. Madame Patey sang the music of David in her finest manner, and Mr. Watkin Mills threw great earnestness into his rendering of the leading part. In the absence of Mr. Lloyd through illness, Mr. Henry Piercy undertook the tenor music, and showed that he is making satisfactory progress as an artist.

Three years ago, when the young Scotch pianist, Mr. Frederic Lamond, first came to London, laden with eulogistic criticisms from the German press, we acknowledged his remarkable executive gifts, but pointed out the defects which marred his playing, and strongly recommended him to devote his time for a while to earnest study. It would seem that he has taken this advice, for he showed marked improvement at his recital on Wednesday afternoon. His rendering of Beethoven's Sonata in a flat, Op. 110, was noteworthy for breadth of style as well as technical excellence, and it reminded us strongly of Hans von Bülow's performance of the same work. Similar qualities were noticeable in Brahms's Rhapsodie, Op. 79, No. 2, and in some pieces by Liszt. The interpretation of Chopin's Ballade in a minor and the Nocturne in D flat was sound and correct, but a

little cold. Mr. Lamond's tone is powerful, but by no means hard, and in every respect he is one of the most promising pianists, native or foreign, who have appeared for some time. We say promising advisedly, for, as he is only twenty years of age, he may be expected to show still further improvement as he gains experience.

SIR FREDERICK A. GORE OUSELEY.

By the painfully sudden death last Saturday (the 6th) of the Rev. Sir Frederick Arthur Gore Ouseley in the sixty-fourth year of his age, English music sustains a far heavier loss than

most people are aware of; for the late baronet was a man of so modest and retiring a disposition that few excepting those who had the privilege of his personal acquaintance had any conception of the breadth and depth of his musical knowledge, or of his ability as a theorist and composer. Sir Frederick was born in London on August 12th, 1825. He succeeded to the title of his father, Sir Gore Ouseley, in 1844. He graduated at Oxford (B.Α. 1846, Μ.Α. 1849), and in the latter year he took orders, officiating as curate at St. Paul's Church, Knightsbridge. From a very early age he had shown great talent for music, and in 1850 he took the degree of Mus. Bac. at Oxford, following this by the higher

degree of Mus. Doc. in 1854. The exercise for latter degree was the oratorio 'St. Polycarp,' which was performed at the Hereford Festival of last year. In 1855 he succeeded Sir Henry Bishop as Professor of Music in the University of Oxford, a post which he held up to the time of his death. In the same year he was appointed Precentor of Hereford Cathedral; and in 1856 Vicar of St. Michael's, Tenbury, and Warden of St. Michael's College, then just en just founded.

As a theorist Sir Frederick occupied a foremost place among British musicians. His work on harmony is one of the best, probably the very best, in our language, and his treatises on counterpoint and form are also of great value. Himself thoroughly trained in all the scientific developments of his art, he held strong views as to the necessity to the musician of a sound theoretical basis for his studies, and looked with aversion on the slipshod methods adopted

by some modern teachers. He was no mere theorist who did not practise what he preached. In a letter to the writer of the present notice, dated only three days before his death, Sir Frederick said: "You may be interested to hear that last night I composed a strict canon, 12 in 6, before going to bed. I have not been doing

anything in the composing way of late, and I wanted to get my hand in a bit! I do not want to lose the power yet."

While profoundly learned in all the mysteries of music, Sir Frederick Ouseley was far from being pedantic or dogmatic. No man was more ready to give fair consideration to views conflicting with those which he himself held, nor more open to conviction if his own opinions could be proved untenable. His modesty with regard to his own

compositions was no less remarkable.

The

present writer well remembers how, during a recent visit to Tenbury, Sir Frederick showed him an elaborate and masterly MS. composition for eight voices with orchestral accompaniment, and how, after pointing out various intended effects, he said, in the most natural and unassum ing manner, "Do you approve?"

As a composer Sir Frederick's great characteristic was thoroughness and solidity. For this reason the highest rank among his works will be taken by the music written for the Church, His services and anthems, several of which are in eight real parts, are worthy of comparison for purity of style and elevation of thought with the works of the old Italian masters whom he

so admired-Colonna, Clari, and others of that school. Though far from being dry, his oratorios 'St. Polycarp' and 'Hagar' are probably too solid and severe style to ever achieve great

popularity; but they are works which will command the respect, and in some aspects even the admiration, of musicians. As an organist Sir Frederick had few superiors, and in extempore playing few if any equals. To hear him improvise a fugue on a given subject was an experience not soon forgotten. In his organ playing his affinities were with Bach and Mendelssohn rather than with the tawdry school of Batiste and Wély.

But it is as a man that the late professor will be the most mourned. His personal character was singularly pure, amiable, and unselfish. He devoted the whole of his private fortune to building and endowing St. Michael's College,

Tenbury - an institution for the training of choristers; and in this, perhaps one of the least readily accessible places in England, he buried himself, devoting himself to the management of the college, anxious only to do real good there, and careless of the fame and reputation which might easily have been his had he chosen to seek for them. He was idolized by all who were associated with him in his work, and his place it will be impossible fully to fill. He often expressed the wish that if it pleased God he might die in harness. That prayer has been answered.

EBENEZER PROUT.

Musical Gossip.

IN 1850 Messrs. Puttick & Simpson sold by auction the collection of music and musical instruments belonging to the late Duke of Cambridge. Among the instruments were two violins by Antonius Stradiuarius, which realized 115l. and 140l. respectively-high prices in those days-while a violoncello by the same maker fetched 721. It is needless to say that if they were brought to the hammer at the present time they would realize six or seven times as much. A curious fact in relation to this is that the balance of the account was never applied for, and it was not till May, 1888-thirty-eight years after the sale-that, on a rearrangement of partnership, Messrs. Puttick & Simpson's accountant, in going through some old books, discovered that this balance was not written off. On communicating this fact to the present Duke of Cambridge, he confirmed the supposition that the executors had not applied for this balance, and the amount was then paid to the Duke's bankers.

THE particulars of the Italian opera season at the Lyceum have now been made public. Twelve performances will be given of Verdi's 'Otello, commencing on July 5th, and it is understood, though not actually announced, that a few evenings will be devoted to other works from the repertory of La Scala. With the exception of M. Maurel, the list of artists is somewhat disappointing, but the engagement of the chorus and orchestra of the famous lyric theatre, and that of Signor Faccio, who is generally regarded as the best of living Italian conductors, will give interest to the performances.

A PERFORMANCE of Berlioz's 'Faust' has now become an annual event at the Crystal Palace. The rendering last week was in several respects

exceedingly good. The choir sang with greater finish than on former occasions, and, indeed, left very little to desire. Mr. Lloyd was, of course, unexceptionable as Faust, and Mr. W. H. Brereton was a capable Mephistopheles, his clear enunciation of the words calling for special commendation. Madame Valleria being unable to sing, Mrs. Hutchinson kindly undertook the part of Marguerite at the last moment, without rehearsal, and won the acceptance of the audi

ence.

THE Wind Instrument Chamber Music Society gave its second performance at the Royal Academy of Music on Friday last week. The programme included a Caprice upon Danish and Russian airs for flute, oboe, clarinet, and piano, by Saint-Saëns; Beethoven's Sonata in F, for piano and horn, Op. 17; Schumann's Three Romances for oboe, Op. 94; and a very effective Quintet by Onslow, Op. 81. The executants were the same as before. The society is preparing a catalogue of works in which wind instruments take a prominent part. This should prove a valuable compilation for musicians.

DR. W. A. BARRETT is forming a collection of quaint traditional songs sung chiefly in the open air either in town or country. Contributions to the volume may be sent to 39, Angell Road, Brixton, and will be gratefully acknowledged.

day last week deserves more attention than we are able to give it. The programme consisted almost wholly of novelties, including a String Quartet in E by Dvorak, Op. 80; twelve 'Silhouettes' for piano solo by the same composer, Op. 8; a Trio in c minor by Schütt, Op. 27; and a Pianoforte Quartet in E minor, Op. 15, by the concert-giver. We have received the score of the last-named work, and have no hesitation in pronouncing it the best effort Mr. Harvey Löhr has put forward as yet. The subjects are well defined, and the construction shows the hand of an accomplished musician. Mr. Löhr was assisted by Messrs. Szcepanowski, Grimson, Richardson, and Whitehouse.

THE orchestral concert given by the Royal College of Music on Thursday last week served to indicate the excellent working of the institution, the standard of merit attained in the various performances being distinctly high. The programme included Bizet's suite, 'L'Arlésienne,' the Vorspiel to 'Die Meistersinger,' the septet from 'The Taming of the Shrew,' and Brahms's Double Concerto, played by Messrs. Sutcliffe and Squire. More interesting than these, however, was the performance of a Pianoforte Concerto in G minor by Mr. Sidney P. Waddington (scholar). This proved to be far above the average of students' work alike in ideas and execution. Without going into details, it may be said that it shows Mr. Waddington to be an able young musician, from whom much may be expected. The work was brilliantly played by Miss Polyxena Fletcher. Prof. Villiers Stanford, who conducted, may be congratulated on the complete success of the concert.

UNDER the title of 'Six Hours with the Organ Compositions of J. S. Bach, Mr. Albert Bishop will give a second series of recitals at St. Mary Abchurch on Monday afternoons, commencing

on the 29th inst. The programmes will be in the main different from those of last year.

MR. MAX HEINRICH provided an interesting programme at his second vocal recital at the Steinway Hall on Tuesday evening. Two charming duets by Mr. Goring Thomas were sung for the first time by Miss Lena Little and Mr. Heinrich, and Miss Little was doubly recalled after her excellent delivery of Schumann's 'Frauenliebe und Leben,' Op. 42. Mr. Bonawitz gave an acceptable rendering of Beethoven's 'Sonata Appassionata.'

A CREDITABLE performance of 'The Redemption' was given by the Popular Musical Union

at the People's Palace last Saturday night, the

audience numbering 5,000 persons, chiefly of the working classes. Among the soloists were Miss

and Mr. Bertram, the last named a young bariRobertson, Miss Hilda Wilson, Mr. Henry Pope, tone of great promise. Mr. W. H. Thomas conducted the performance.

CONCERTS, &c., FOR NEXT WEEK.

the Shaftesbury Theatre an adaptation from Señor José Echegaray, whose reputation as a dramatist stands high in modern Spain. The story has been fitted to English characters and to English life. How far in undergoing this process it has suffered we are not in a position to state. It is at least certain that its characterization is not too intelligible, that its opening action is wearisome, and that its termination, though strong, comes short of the effect it ought to produce. Taking the story of Othello, but washing the Moor white, the dramatist has substituted for Iago calumny and accident. Here is an idea capable of dramatic treatment. As Desdemona loves Othello, the heroine loves her husband, who is somewhat declined into the vale of years. Like her predecessor, she is strong in her innocence; like her too, but immeasurably beyond her, she is indiscreet. Unlike Desdemona, she has a lover, a donothing cousin, who calls himself a poet and affects to be a painter. Very far from being actively bad is this young gentleman. He is, however, whether consciously or unconsciously, enamoured of her, and she, though her love is in a way her husband's, likes his attentions. Calumny, accordingly, is not wholly to blame in judging harshly the intimacy between the two. When once the accusation is brought, the heroine repels it with indignation. She cannot, however, keep away from the fire. They toy till they rouse the husband into jealousy. When he is mortally wounded in defence of her honour, he finds her hiding in her lover's bedroom. They toy once more in the room adjacent to his bedroom, and, once more caught by him, bring on his death-struggle, and then they toy over his corpse. The sympathy that a really strong scene inspires is destroyed by conduct so idiotic, and pathos is lost in indignation. Whether the acting or the author is responsible for this may in time be ascertained. Since innocence "breeds such offence" the moral lesson seems to be quite other than the author purposed. The avowed lesson of the deadly influence of calumny at least evaporates. Miss Wallis

acted with some genuine force in the last

act, and Mlle. Dairolles imported some much-needed comedy into the play. The

general interpretation, however, had special merit.

no

The interpretation of 'Mlle. de BelleIsle' at the Royalty is creditable, considering that the piece is mainly supported

TUES.

WED.

FRI.

SAT.

&c., 8, Shoreditch Town Hall.

Mr. William Deller's Concert, 8, Steinway Hall.
Popular Concert, 8.30, St. James's Hall.

St. Paul's Cathedral, Bach's Matthew' Passion Music, 7.
Mr. Max Heinrich's Vocal Recital, 830, Steinway Hall,
Mr. Lamond's Pianoforte Recital, 3. St. James's Hall.
Mr. Bonawitz's Requiem.' &c, 8. Princes' Hall.

Royal Academy of Music Orchestral Concert, 8, St. James's Hall.
Royal Choral Society, Messiah,' 7, Albert Hall.

Rossini's Stabat Mater,' &c, 8. St. James's Hall.
Mr. Manns's Benefit Concert, 3, Crystal Palace.

DRAMA

THE WEEK.

stock company, some of whom, assumably to their surprise, are put into parts very unlike any in which they have been seen. M. Dalbert, for instance, whose line is the comic bourgeois, enacts the young lover, yet he displays much earnestness, and is not in the least ludicrous. M. Febvre is the Duc de Richelieu, and plays with ease and aplomb and a certain amount of distinction. He is very far, however, from being an ideal Richelieu. Mlle. du Minil,

ROYALTY.-Mile. de Belle-Isle,' Comédie en Cinq Actes. Par Alexandre Dumas.

PLAYS taken directly from the Spanish are rare on our modern stage. No such success as will stimulate further research in the same quarter attended the experiment of Mr.

hibits remarkable force and power. The future of this young actress must be of interest to the admirers of French acting.

TO CORRESPONDENTS.-J. C. M.-S. K. L.-8. C.-K. т-J. F. C.-H. J. R.-G. M. 8.-F. O. W.-R. C.-S. G. P. -C. & W.-J. H.-W. G. & Sons.-received.

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