chorus serenaded Herr Wachtel, the other morning, at his hotel, as a mark of their appreciation of his kindness in suggesting and singing at a benefit got up for the band. The sisters Marchisio have left the Italian Company for the present, and proceeded to Hanover and Magdeburg. They will, however, shortly return.-Spontini's widow, who is very advanced in age, and who resides in Paris, is now here. She came to be present at the representation of the opera of "Nurmahal." Herr A. von Kontski, also, the pianist, from Wisbaden, is here. So much for the Past and Present. As far as the Future is concerned, you must know that the new season of the Singacademie will be inaugurated to-night, the 2d inst., by a mass of J. S. Bach. The next works on the list for performance are Haydn's "Creation," Blumner's "Abraham" (an oratorio) and Handel's "Solomon." About the middle of this month, Her Hans von Bülow will commence a series of concerts, at which he himself will of course, metaphorically if not literally, play first fiddle.-From an Occasional Correspondent.

THE sort of success which Glück's "Alceste " has attained at the Im perial Opera, in Paris, continues unabated, indeed, rather increases. The audiences are swelled by the presence of many earnest lovers and eager students of musical art, not only from the provinces of France, but from abroad. To these, of course, this great work is an interesting, and no

"Of the Italian Theaters almost all is yet surmise. That Her Majesty's Theater will open for the season we have no doubt, but whether under the management of Mr. Lumley or some other impresario we cannot say. Should this time-honored establishment unclose its doors, not only will several of the recognized stars of Italian song shine conspicuously— among whom we need hardly name Mlle. Titiens and Signor Ginglinibut a new artist, of the highest talent, histrionic and vocal, is expected to appear in the person of Madame Galetti, about whom Italian journals and Italian audiences are extremely enthusiastic. Madame Galetti is described as a singer of the Pasta school, with a powerful mezzo-soprano voice and great tragic powers-just such an artist, in fact, as is wanted in the present day. At the Royal Italian Opera unusual interest attaches to the rumor-well founded, we believe-of the engagement of Sophie Cruvelli, (Madame la Baronne Vigier,) who has yielded to Mr. Gye's entreaties to leave for awhile her domestic retirement, and will appear in several of those parts which she may be said to have made her own some years since; such as Fidelio, Elvira in ‘Ernani,' Abigail in 'Nabucco,' etc., etc.

66 The prospectus of Mr. Henry Leslie's choir, just issued, contains some interesting particulars. The performances will take place in the Hanover Square Rooms, a site which, for many reasons, we consider better

ties will be produced, among which we may mention Handel's Chandos Anthem, 'The Lord is my Light,' which has not been executed in public since 1786, when it was given at the Ancient Concerts, and Sebastian Bach's motet for double choir, 'I wrestle and pray.' On the whole, Mr. Henry Leslie seems determined to keep pace with the exigencies of the time and the occasion, and we have little doubt that the performances of the choir will, as they have done for several years past, be reckoned among the most striking and finished musical achievements of the

doubt, to some extent profitable field of study;-to the dilettante, how-adapted to the celebrated choir than St. James's Hall. Several novelever, and the ordinary public, who require to be pleasurably excited, or folded into a web of powerful interest-it is nought. The Opera has done, nevertheless, a worthy thing in producing "Alceste "; the resources of such an Imperial establishment cannot, indeed, be better employed than in presenting to the public, independent of the money question, the acknowledged models of art, and, indeed, in some cases mere antiquities only, so long as they are something more than simply curious. But, if "Alceste" were played regularly once a week, for some time to come, it would draw on each occasion a large enough audience of that select kind to which it addresses itself, to repay a great part, if not all the expenses of its production.

On the forthcoming season in London, the Musical World has the following: "In a musical sense the season of the New Exhibition promises to be more interesting and more important than that of the old Exhibition. Everybody believes beforehand that the year of grace 1862 will eclipse that of 1851 in all that relates to the glorification and furtherance of Music. The notes of preparation already sounded seem like flourishes that directly herald such a result. The great Handel Commemoration of 1851 at the Crystal Palace, with large reinforcements in the band and chorus, and with serious modifications and improvements in the construction of the orchestra, will be repeated, and will constitute the special feature of the season. Even now the festival is announced, and the sixteen hundred amateurs that make up the metropolitan contingent of the choir have been summoned by Mr. Costa to Exeter Hall for preliminary rehearsals. The success of the Handel Commemoration in the Great Exhibition Year was not likely to be overlooked by the general manager, Mr. Robert Bowley, who is so keenly alive to the interests of the Crystal Palace, and who never loses an opportunity of turning chances to the best account. That the performances this year will surpass those of 1851 we have every reason to expect. From the increase of the choral and orchestral forces a vast deal may not be anticipated. In the disposition of the orchestra and the prevention of the sound from being lost in the surrounding aisles much may be effected. At present the addition of numbers to the singers and players will but lead to confusion and tumult. What should be done we cannot advise, but that something must be done to keep the sound within a certain area, and render it audible in more than one position we feel convinced.

"What is intended to constitute the particular musical feature in the new building at Kensington Gore has not transpired, beyond the performances of the new pieces written expressly for the inauguration by Auber, Meyerbeer, and Sterndale Bennett. If nothing else, however, be presented, no small interest will attach to the execution of these original works by such eminent composers.

season.

"Some talk there is of Drury-Lane being opened with English Opera, and even with Italian Opera. Mr. E. T. Smith, we understand, has made an offer to Miss Louisa Pyne to appear in a series of operas during the season. If Miss Pyne does not accept, he may be driven to Italy for his musical company. One thing is certain; Mr. Smith will not be idle in so tempting and exhilarating a juncture, as the Exhibition year.

"The Monday Popular Concerts, which commence the winter season on Monday week, will, we have no doubt, be extended farther than last year into the summer. The performances of these admirably conducted concerts, with their rich and rare variety of music of the highest order, cannot fail to create a greater interest than ever, and, indeed, as they are entitled to do, divide attention with the choicest and most recherché entertainments provided elsewhere.

"To conclude for the present-we have advanced enough to prove that the forthcoming season is full of promise, and that the musical art, if not directly represented at the Great Exhibition, is likely to uphold its prestige and its pre-eminence, in spite of the fact of its being all but ignored by the Committee of the New Palace. Let music not despair because circumstances are adverse and directors are ignorant. Magna est musica et prevalebit ! "

Nov. 10, 1861.-Our musical season is now in full course. Gewandhaus, Euterpe, Chamber Music, Sing-Academie, and the multitude of private societies, are all claiming the ears of the public. Six Gewandhaus concerts have already taken place; and in these we have had four new compositions and two exhumations.

To speak of the new pieces first. The most important is an "Overture to Medæa," by Herr Woldemar Bargiel, of Cologne. The former works of this composer, full of promise as they were, have often been marred by the want of symmetry of form. In the present composition he has overcome this defect to a very great degree, and proves that to a man of genius attention to the laws of form does not necessarily act as a clog to the imagination. The