be not written in more than three keys (say C, F, G), that he may be perfectly familiar with these before proceeding further. 2. When the memorization and realization is complete, we may take some simple chant, consisting of triads and inversions, with perhaps a few dominant 7ths or inversions; try and dispense this time with writing the name of the chord under it, but mentally name and say aloud the nature of the chord to be transposed. All this should be done quite away from the instrument, and not until the power of mental analysis is pefectly possessed should the keyboard be approached. As soon, how. ever, as the student is perfectly cognisant of the nature of every chord, an attempt may be made. Give a glance to see in what position the first chord is taken (ie., whether the 8th, 5th, or 3rd is in the melody of a triad; in what part the 3rd is taken, &c.); call aloud the name of the chord in the model; and then calmly, slowly, and deliberately, strike the corresponding chord in the new key. In like manner name the next chord, making a mental note as to how far the melody skips, if it moves at all; mind, not counting the interval, but thinking of the name of the scale series to which the skip is made; and proceed. If this is conscientiously and slowly carried out, the pupil will be astonished to find out how easily one's fingers play the notes when the brain has once grasped the nature of the chord. 3. The pupil will now write additional models for his own use, having a care to write none at present containing more abstruse chords than the dominant 7th and inversions, and without modulation or accidentals; or he can select such chants and hymntunes as he may be unacquainted with of the same nature. As soon as these can be transposed into all the major and minor keys with ease, we can proceed to the next step. HOW TO LISTEN TO MUSIC. BY HAMILTON C. MACDOUGALL. All musicians acknowledge the great benefit derived from listening to performances of musical works by good artists. Much can be learned and an inspiration to vigorous study gained, both these results being of great practical importance in the student's mental well-being and development. Our non-musical friends might be inclined to laugh if we should say that we ought to have a sense of responsibility in listening to a musical work of art. But if we have any reverence, the thought that we must listen and decide for ourselves as to the merits of an opera, or oratorio, or symphony, will make us very careful as to the way in which we listen, and the spirit in which we judge. If this be the case, it becomes a matter of vital importance how we listen, especially if we shall find that under certain circumstances we can gain more in listening above all others, is this matter of much importance; for than under others not so favourable. To the student, he must utilize, to the greatest degree, his advantages. Let us then consider some of the outward conditions under which hearing may be advantageously conducted. The student will find himself better informed and more in sympathy with the times if he regularly reads one or more musical papers. In these he will find, often, interesting biographies of old and new masters, with analyses of their works, and accounts of the circumstances under which certain works were written, together with much informaselected and well studied, can not be too highly recommended. All this makes the student more intelligent; and an intelligent hearer, other things being equal, is the best hearer. It is also necessary for the production of the best results that the hearer should know enough of form to be familiar with the classical methods of presenting and developing themes; and that his knowledge of harmony should not be simply a paper knowledge, but that it should have become a part of his mental stock-intrade. In other words, it is necessary the hearer's ear least to a considerable extent. should have the power to grasp chord relationship, at discern the structure of the composition, and will have He will, thus, more easily many musical object lessons not otherwise obtainable. 4. Chromatic passing notes may now be introduced. This will not be found an additional element of great difficulty, as the progression of the moving part is so slight. It may, however, betion respecting the art in general. A musical library, well helpful to bear in mind the change of notation of accidentals brought about by a transference of chords from a flat key to a sharp key or vice versa. This briefly is as follows: accidental sharps in sharp keys become naturals in flat keys, and vice versa; accidental flats in flat keys become naturals in sharp keys, and vice versa; while naturals in sharp keys become flats in flat keys and vice versa. The somewhat rarely found sharp in a flat key, and flat in a sharp key, is generally of the nature of a passing note or appoggiatura, and no special mention of their treatment will be necessary at this stage, beyond saying that the progression of the part appeals so directly to the eye that no difficulty will be experienced. 5. The fundamental discords (and gradually all chords) may now be introduced, and transposition essayed, after the usual process of writing out a model progression containing the most commonly used chords and inversions, and playing them over until perfectly familiar in all keys. 6. It cannot be denied that the introduction of modulation into an exercise is a considerable source of difficulty. This, however, must be overcome by the same process as before. I may, however, suggest that at first we should use only exercises in modulation which contain simple chords and modulating only into related keys; perhaps it may afford a little assistance to pencil over the modulating chord into what degree of the scale we are going. In conclusion, I may offer the following words of advice. the chord is in the old key before trying to play it in the new Never guess at the nature of a chord (always satisfy yourself what one), try and recognise the names of chords when they are struck (by other people); some people who could identify the scale notes of a melody they may hear are utterly at a loss to know what a given chord is, and this quality is to say the least quite as valuable; play compositions in all keys (don't restrict your pieces to those in the easy keys, and avoid a fine one simply because it is written in G flat, F sharp, or A flat minor; if I could have my way, I should compel all students sufficiently advanced to go through consecutively the whole of Bach's immortal 48 Preludes and Fugues (taking one of each every day); and lastly, but not leastly, try and realize, whatever you may be playing (not necessarily transposing) the chords the music is composed of, their names and nature. In case of a temporary failure to get on, it is only necessary for the student to ask himself-At what point of the brain pro cess (recognition, memorisation, or identification), did I fail to instantly be in a position to remedy it? Transposition is cultivated generally much too late in the career of the student (very often not until the eve of some examination), instead of being introduced into a pupil's early work, and the habit of recognising the various chords in different keys fully formed. The pupil (once more, be it said) must not feel discouraged because the necessary operation of going through the distinct processes is at first a very slow one. "Practice makes perfect,' and in a little time the recognition and identification, those two most important elements, are almost simultaneous. The Royal Academy of Music, the College of Organists, and Trinity College, London, have all been recently engaged in the usual diploma examinations of the season. If it is possible to get the music before the performance, it should he played over a number of times, if unfamiliar, in order that the ear may become accustomed to any peculiarities of the composer, or any departure from accepted models so striking as to prove confusing on a first hearing. If no full score can be had, a pianoforte arrangement will be the next best thing. If no opportunity of studying the music before its performance is given, then previously acquired general information, and the student to seek such helps as have been described; but, analytical programme, will be the only possible outward help. It must be emphasized that it is the duty of the even if the listener is ignorant of the composer, and of his work, and comes to the hearing of the music without any preparation whatever, there are still certain inward conditions to which he will find it his interest to conform. In the first place he should listen without prejudice, and should endeavour to discern the beauties of the work. If he is an anti-Wagnerian, for example, and is listening to one of that master's later operas, he must not make up his mind before he hears it that it will be but a meaningless mélange of leit-motives without intelligibility. If he is of that opinion after a careful hearing, that is a different belongs to the ultra-modern school, let him not turn away matter; but, let him come without prejudice: or if he in disgust because the work he hears has a tune in it. No man can get any good from listening if he shuts his ears to certain things and opens them wide to others; for such conduct will make hini musically deformed. Again, the hearer should aim to be in a receptive mood. It will be of no particular use to discuss, at this point, how far our moods are under our control. This much is true: that if an earnest effort is made to place every sense in that state in which it will be ready to catch everything of interest, be missed. People go to concerts in such a frame of much of significance will be heard that would otherwise mind that if the music claims their attention at all, it is by force, so to speak. We must meet the music halfway, and seek its confidence. If, after all, pains have been taken at the performance to listen, we are not favourably impressed, we have a right to feel that the work is not, at least for us, a work of art. Future hearings, as they deepen or dissipate the first impressions, lead us to our final judgment. It will be seen that the best hearing is dependent on these conditions: general musical intelligence, previous study of the works performed, and a sympathetically disposed condition of the mind. Passing Events. At the Town Hall, Poplar, in consequence of the great success of the first series of Promenade Concerts, Mr. George H. L. Edwards gave a second series of three grand Promenade Concerts at the above hall, on January 13th, January 14th, and January 15th, 1885. The following artists have been engaged: vocalists: Mdme. Lansdell-Sims, Miss Mary McClean, and Miss Annie Cole, Mr. John Probert, Mr. Arthur Thomas, and Mr. Joseph Hay, Mr. Sackville Evans, Mr. Henry Prenton, and Mr. W. G. Hazelgrove; solo violin, Miss Bessie Poole, R.A.M., and Mr. J. F. Stout; pianoforte, Mr. George H. L. Edwards. The full orchestra of the East London Dr. J. F. Bridge has been nominated one of the Orchestral Society, some forty performers, and the band Examiners in Music at Oxford. The term at Trinity College and at the Guildhall School of Music commenced last Monday. Señor Sarasate announces four orchestral concerts to be given at St. James's Hall on April 18th and May 2nd, 16th, and 30th. Mr. Emil Behnke lectured at the Mechanics' Hall, Nottingham, on the 12th inst., on "The Voice as a Musical Instrument." It is announced that a new comic opera called “Venice, or the Lady of the Locket," will be produced shortly at the Empire Theatre. Mr. F. H. Cowen is now engaged upon the score of his cantata "The Sleeping Beauty," which is to be produced at the Birmingham Festival. Herr Oberthür, the harpist, has received an invitation from her Majesty the Queen of the Belgians to play at the Palace in Brussels, whither he will proceed next month. M. Aguilar's third and last pianoforte recital is to be held next Monday afternoon (January 19th.) It is hoped that, this year, the recitals will be resumed at Eastertide. Monday the 26th inst. has been appointed for the reception of Works of Art intended for the Spring Exhibition of the 19th Century Art Society, at the Conduit Street Galleries. The Church Oratorio Society, under the conductorship of Mr. J. Turpin, Mus. Bac., gave a selection from Handel's "Messiah," with Croft's "Cry aloud and shout," at Oxhey Church, on January 8th. Mr. E. H. Turpin was the organist. The remarks called forth in different directions by Sir A. S. Sullivan's vigorous plea for national art, show the unwisdom and unpopularity in artistic circles of the illadvised recent appointment of Herr Richter as conductor of English choral music at Birmingham. At Mr. Charles Halle's concert at the Free Trade Hall, Manchester, on Thursday week, Dvorák's Symphony in D was given for the first time in Manchester. Herr Max Pauer also made his first appearance at these concerts and played a new concerto by Gernsheim. Miss Marian Demsiel purposes to take a benefit at the Ladbroke Hall, Notting Hill, next Thursday (January 22nd), when she will sing several popular pieces and solo part in Mr. Mark Leonard's "Peculiar People," and Mr. Planché's musical comedy "The Loan of a Lover." Herr Hans Richter proposes during the spring to give orchestral concerts at Liverpool, Manchester, Leeds, Sheffield, Leicester, and Nottingham. At the last-named town a guarantee fund of £300 has been secured by leading gentlemen of the locality to meet any possible pecuniary difficulties. Mr. Sinclair Dunn has been engaged by Mr. J. H. Bonawitz to "create" the (tenor) part of Áramy in his new opera "Irma." Mdme. Rose Hersee will appear in the important title-part. The opera is in rehearsal and will probably be produced some time in February, or early in March, certainly before Easter, which falls on April 7th. of the 7th Surrey Rifles assisted. Service Lists. SECOND SUNDAY AFTER EPIPHANY. JANUARY 18th, 1885. LONDON. ST. PAUL'S CATHEDRAL.-Morn.: Service, Te Deum and Benedictus, Stainer in B flat; Introit, From the rising of the sun (Ouseley), Holy Communion, Stainer in B flat. Even.: Service, Magnificat and Nunc Dimittis, Martin in A; Anthem, When Jesus our Lord (Mendelssohn). TEMPLE CHURCH.-Morn.: Service, Te Deum and Jubilate, Attwood in F; Apostles' Creed, Harmonized Monotone: Anthem, Blessed be the God and Father (Wesley); Kyrie Eleison, Young in B flat. Even.: Service, Cantate and Deus Misereatur, Hayes in E flat; Apostles' Creed, Harmonized Monotone; Anthem, Lo! star-led chiefs (Crotch). LINCOLN'S INN CHAPEL.-Morn.: Service, Boyce in A; Kyrie, Forbes; Anthem, O praise the Lord of heaven (Goss). Even.: Service, Arnold in A; Anthem, O give thanks unto the Lord (Boyce). ST. ALPHAGE, LONDON WALL.-Morn.: Service, Te Deum, Dye in D; Jubilate, Garrett in D; Kyrie Eleison, Garrett in D. Even.: Service, Cantate and Deus Misereatur, Cobb in C. ALL SAINTS, MARGARET STREET.-Morn.: Service, Te Deum, Smart in F; Benedictus, Simcox; Communion Service, Even.: Service, Farnby in E flat; Anthem, Drop down, ye Weber in G; Offertory Anthem, Brightest and best (Smart). heavens (Barnby). ST. AUGUSTINE AND ST. FAITH, OLD CHANGE.-Morn. and Communion Service, Stainer in A (throughout). Even.: Service, Garrett in E flat; Anthem, Lo! star-led chiefs, and, Be peace on earth (Crotch). CHRIST CHURCH, CLAPHAM. Morn.: Service, Mass, Hummel in B flat; Offertory Anthem, As pants the hart cried, and, I waited for the Lord (Mendelssohn). (Spohr). Even.: Service, Miller in D; Anthem, All ye that late, Calkin in G; Anthem, There shall a star ("Christus," FOUNDLING CHAPEL.-Morn.: Service, Te Deum and JubiMendelssohn). Aft.: Children's Service. ST. JAMES'S PRIVATE EPISCOPAL CHAPEL, SOUTHWARK Morn.: Communion Service, Haydn in C (No. 2); Offertory, Cry aloud and shout (Croft). Even.: Service, Tours in F; Anthem, The Lord from the North (Mendelssohn). S. JOHN THE DIVINE, KENNINGTON, S.E.-Morn.: Service, Stainer in A; Communion Service, Kyrie, Credo, and Gloria, Stainer in A; Sanctus, Benedictus, and Agnus Dei, Gounod (Messe Solennelle). Even.: Service, Stainer in A. Anthem, I will arise (Wesley); Te Deum, Goss; Jubilate, ST. MAGNUS, LONDON BRIDGE.-Morn.: Service, Opening Turle; Kyrie, Wesley. Even.: Service, Cantate and Deus Misereatur, Attwood in D; Anthem, Arise, shine (Elvey). ST. MARGARET PATTENS, ROOD LANE, FENCHURCH STREET.-Morn.: Service, Te Deum and Benedictus, Tuckerman in F; Communion Service, Offertory Anthem, Lift thine eyes (Mendelssohn); Kyrie, Credo, Sanctus, Benedictus, Agnus Dei, and Gloria, Hummel in B flat. Even.: Service, Magnificat and Nunc Dimittis, Hopkins in F; Anthem, As pants the hart (Spohr). ST. PAUL'S, AVENUE ROAD, SOUTH HAMPSTEAD.-Morn.: Service, Te Deum, Tilleard in F; Benedictus, Barnby; Kyrie, Offertory, Credo, Sanctus and Gloria in excelsis, Stainer in E flat. Even.: Service, Magnificat and Nunc Dimittis, Arnold in A; Anthem, Ascribe unto the Lord (Wesley). At the Mendelssohn Academy of Pianoforte Music, Mendelssohn House, 44, Clarendon Road, Holland Park, W., Mr. August Buhl gave his "fourth drawing-room concert," January foth; pianoforte, Mr. August Buhl, Miss Ella Butterworth (amateur), and Fr. Gollmick; and Benedictus, Chant; Holy Communion, Kyrie, Credo, SancST. PAUL'S, BOW COMMON, E.-Morn.: Service, Te Deum organ, Mr. August Buhl; harp, Mr. Charles Oberthür; tus, Benedictus, Agnus Dei, and Gloria in excelsis, Tours in C; vocalist, Mr. Sinclair Dunn. The programme contained Offertory, Stainer. Even.: Service, Magnificat and Nunc several original compositions written by the concert- Dimittis, Tours in D; Anthem, Then shall the eyes, He shall giver himself. feed His flock, and, IIis yoke is easy (Handel). S. PETER'S, EATON SQUARE.-Morn.: Service, Te Deum, Dykes in F. Even.: Service, Stainer in A; Anthem, The wilderness (Wesley). ST. PETER'S, VERE STREET, W.-Even.: Service, Magnificat and Nunc Dimittis, Wood in G; Anthem, O praise the Lord (Goss). ST. SEPULCHRE'S, HOLBORN.-Morn.: Service, Te Deum and Jubilate, Boyce in A; Anthem, Almighty and everlasting (Gibbons); Kyrie and Credo, Agutter in B flat. Even.: Service, Magnificat and Nunc Dimittis, Ebdon in C; Anthem, Sing we merrily (Crotch). COUNTRY. ST. ASAPH CATHEDRAL.-Morn.: Service, Chants; Anthem, Arise, shine (Elvey). Even.: Service, The Litany; Anthem, Sing, O daughter of Zion (Ouseley). ASHBURNE CHURCH, DERBYSHIRE. Morn. Service, Rogers in D; Kyrie, Credo, and Gloria, Rogers in D. Even.: Service, Boyton Smith in D; Anthem, The morning stars (Stainer). BIRMINGHAM (ST. CYPRIAN'S, HAY MILLS).-Morn.: Service, Attwood in F; Anthem, Why do the nations, and, Let us break their bonds (Handel). Even.: Service, Whitfeld in A; Anthem, The Lord is very great (Beckwith). BRIGHTON (ST. PATRICK'S). Morn.: Service, Anthem, From the rising of the sun (Ouseley); Communion Service, Garrett in E flat. Even.: Service, Magnificat and Nunc Dimittis, Clarke Whitfield in E; Anthem, Ascribe unto the Lord (Travers). WELLS CATHEDRAL.-Morn.: Service, Turle in D; Introit, Blessed are the pure (Macfarren). Even.: Service, Turle in D; Anthem, Lord, who shall dwell (Boyce). WORCESTER CATHEDRAL.-Morn.: Service, Wesley in F; Anthem, From the rising (Ouseley). Even.: Service, Wesley in F; Anthem, Send out Thy light (Gounod). The Querist. QUERIES. COPYRIGHT.-Can I beg a few answers, through your columns, with regard to copyright pieces?-1. What is the cost to have a song or piece copyright? 2. Does it stop any one from publishing it, and also prevent any one from playing or singing it in public ?—J. A. B. [The Copyright of the owner-whether author, composer, or publisher of any song or new work, comes into existence with its publication, without payment or registration of any kind; though a few (four, I think) copies should be sent to Stationers Hall, E.C. No one can republish such work; and the right of public performance remains with the owner, though it is usual to concede this right by allowing public performances without question or exacted payment of any kind. ED., M.S.] MIXED TIME MEASURES, ETC.-I. In Stanford's "Elegiac Ode," p. 41, the time signature stands thus, . What does this mean, i.e., how is it applied? 2. In the "Rose of Sharon," p. BYFLEET (SURREY), SS. PHILIP AND JAMES.-Morn.: Ser-243, the following occurs, "In modo d'un Inno." What is vice, Te Deum and Benedictus, Tuckerman in F; Anthem, As Inno? 3. How are the letters A, B, C, &c., which one sees all pants the hart (Spohr). Even.: Service, Magnificat and Nunc through vocal scores, used, i.e., is there any rule as to their appliDimittis, Tuckerman in F; Anthem, I waited for the Lord cation at certain places ?-J, P. H. (Mendelssohn). CARLISLE CATHEDRAL.-Morn.: Service, Smart in G; Introit, Blessed be the Lord (Ouseley); Kyrie and Creed, Smart in G. Even.: Service, Smart in G; Anthem, Blessed be thou (Kent). DUBLIN, ST. PATRICK'S (NATIONAL) CATHEDRAL.-Morn.: Service, Te Deum and Jubilate, Smart in F; Anthem, O God, when Thou appearest (Mozart). Even.: Service, Magnificat and Nunc Dimittis, Stainer in B flat; Anthem, Cast thy burden (Mendelssohn), and, O where shall wisdom (Boyce). DUBLIN (ST. STEPHEN'S CHURCH).-Morn.: Service, Sullivan in D. Even.: Service, Calkin in D; Anthem, O taste and see (Goss). EDINBURGH (ST. JOHN'S).-Morn.: Service, Chants. Aft.: Service, Attwood in F; Anthem, God is our hope and strength (Greene). Even.: Service, Chants; Anthem, Great is the Lord (Hayes). ELY CATHEDRAL.-Morn.: Service, Ouseley in G; Kyrie and Credo, Ouseley in G; Anthem, I know that the Lord (Ouseley). Aft.: Service, Ouseley in G; Anthem, The glory of the Lord (Goss). LEEDS PARISH CHURCH. - Morn.: Service, Stanford in B flat; Anthem, O come let us worship (Mendelssohn); Introit, Blessed is he (Gounod); Kyrie and Credo, Stanford in B flat. Even.: Service, Stanford in B flat; Anthem, Why do the nations (Handel). LICHFIELD CATHEDRAL.-Morn.: Service, Steggall in G; Communion Service, Steggall in G; Anthem, What are these (Stainer). Even.: Service, Steggall in G ; Anthem, Then shall the righteous (Mendelssohn). MANCHESTER CATHEDRAL. Morn.: Service, Te Deum, Jubilate, Kyrie, Creed, Sanctus, and, Gloria, Ross in G; Anthem, In Christ dwelleth (Goss). Aft.: Service, Cooke in C; Anthem, O Lord our Governor (Stevenson). MANCHESTER (ST. BENEDICT'S, ARDWICK).-Morn.: Service, Benedictus, Cobb in G; Kyrie, Elvey; Credo, Sanctus. Benedictus, Agnus Dei, and Gloria in excelsis, Farmer in B flat, Even.: Service, Magnificat and Nunc Dimittis, Tours in F. MANCHESTER (ST. JOHN BAPTIST, HULME).-Morn.: Service, Kyrie, Credo, Sanctus, Benedictus, Agnus Dei, and Gloria in excelsis, Monk in C. Even.: Service, Magnificat and Nunc Dimittis, Bunnett in F. MUSSELBURGH (LORETTO SCHOOL).-Morn.: Service, Introit, I was glad (Callcott); Service, Smart in F; Anthem, O thou that tellest (Handel). Even.: Service, Anthem, Glory to God (Handel). ROCHESTER CATHEDRAL.-Morn.: Service, Travers in F; Anthem, How dear are Thy counsels (Crotch). Even.: Service, Hopkins in E flat; Anthem, Wherewithal (Elvey). SALISBURY CATHEDRAL. -Morn.: Service, Croft in A; Communion Service, Parry in D; Offertory, Barnby. Aft.: Service, Elvey in A; Anthem, I desired wisdom (Stainer). SHERBORNE ABBEY.-Morn.: Service, Te Deum, Lyle in E flat; Kyrie, Mendelssohn in E flat; Offertories, Barnby. Even.: Service, Anthem, I was glad (Callcott). [1. The figures show the alternate use of two typical time measures. In both cases three main beats are counted to each bar; in one instance each beat has three quavers, three threes making [nine, and in the other each beat has two quavers assigned to it, making three twos, six quavers, or three crotchets to each measure. 2. "Inno" is the Italian for hymn. "In modo d'un Inno," means "In the manner (or style) of a hymn." 3. The letters A, B, C, &c., placed on scores and parts indicate places from points which given passages may be rehearsed without delay in finding places, such points being indicated by the conductor calling out the particular letter to which the performers are to return to, and which precedes the difficult sentence he desires to practise over. In placing such signs intended to facilitate rehearsal work and to economise rehearsal time, the letters likely to call for practice repetition, and at such well defined are generally placed before such passages as are thought most rhythmical points as will facilitate quick reference and secure a good, well-marked starting-point. The composer of any work written in score for several or a large number of performers, aids greatly the business of rehearsal by placing capital letters for mutual reference on the part of conductor and performers at prominent rhythmical or cadence points throughout each movement. This method of marking parts for rehearsal was largely favoured, if not invented, by Sir M. Costa.-E.D. M.S.] REPLY. W. H. G.-Miss Kenway's School is now located in Hammersmith, but I cannot find the address. Any leading publisher would supply it. Mr. A. Ellis's valuable "History of Musical Pitch" is in print, but I think only for private circulation. 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Deeds, Writings, and other Securities and Valuables, the collection of Bills of Exchange, Dividends, and Coupons, and the purchase and sale of Stocks, Shares, and Annuities. Letters of Credit and Circular Notes issued. A Pamphlet, with full particulars, on application. FRANCIS RAVENSCROFT, Manager. HOLLOWAY'S PILLS.-Nervousness and Want of Energy. When first the nerves feel unstrung and listlessness supplants energy, the time has come to take an alterative such as HOLLOWAY'S PILLS, to restrain a trifling disorder from developing into a disease. These excellent Pills correct all irregularities and weaknesses. They act so kindly, yet so energetically on the functions of digestion and assimilation, that the whole body is revived, the blood rendered richer and purer, while the muscles become firmer and stronger, and the nervous and absorbent systems are invigorated. These Pills are suitable for all classes and all ages. They have a most marvellous effect on persons who are out of condition; they soon rectify whatever is in fault, restore strength to the body and confidence to the mind. MUSICAL STANDARD is published every SPECIAL.-Manufacturers and Publishers wishing to con- ADVERTISEMENTS.-The charge for ordinary advertisements in The Musical Standard is 2s. 6d. for three lines or less; and 6d. for each line (10 words) in addition. "Organist wanted," 3s. 6d. for 3 lines or less. A reduction is made for a series.-APPOINT. WEEKES & CO., 14, Hanover Street, WMENTS are inserted at a charge of is. 6d. SATURDAY, JAN. 24, 1885. WEEKLY: PRICE 3D. INVENTIONS EXHIBITION AT SOUTH KENSINGTON. Manufacturers and Inventors intending to exhibit anything of interest to the musical world should forward particulars to Mr. HARRY LAVENDER, Musical Standard, 185, Fleet Street, E.C. ROYAL 17, Rue Klèberg, Genève. OYAL ACADEMY OF MUSIC.-Instituted 1822. Incorporated by Royal Charter 1830. Under the immediate patronage of Her Most Gracious Majesty the QUEEN and the Royal Family. The NEXT STUDENTS' CONCERT will take place at ST. JAMES'S TRINITY COLLEGE, LONDON. President-The Right Hon. The EARL of ABERDEEN. The next STUDENTS' INVITATION CONCERT, open to Students, Members, Diplomés of the College, and their friends (by ticket only), will take place on Tuesday evening, February 3rd, at 7 o'clock. By order of the Academical Board. Mandeville-place, Manchester-square, W. FEBRUARY 5th. MAKERS AND REPAIRERS. GEORGE WITHERS & CO. (Late of Coventry Street), WHOLESALE IMPORTERS OF MUSICAL STRINGS, From Rome, Padua, and Naples. A FINE COLLECTION OF ITALIAN INSTRUMENTS. Bows, Cases, Music Stands, &c. See Price Lists. 51, ST. MARTIN'S LANE, LONDON. MISS ADA SOUTH, R.A.M Medalist. Mezzo-Soprano or Soprano. For Oratorios, Ballad, and Operatic Concerts, address, Oakwood, Brondesbury Park, N.W. OW and BROMLEY INSTITUTE.-SATURDAY will be resumed on Saturday next, January 31st, at 8 p.m., by Mr. W. S. HOYTE. Vocalist, Miss HOPE GLENN. Admission, 6d. and 3d. Over North London Railway Station, Bow, E. LIBRARIES of MUSIC and MUSICAL LITERATURE, of Sir JOHN ME Portion of the STOCK of MUSIC of the late Mr. WM. ROBINSON. MR. WALTER BACHE'S ORCHESTRAL PER- FORMANCE of ORIGINAL WORKS OF FRANZ LISZT, Concerto in E flat (pianoforte-Mr. Walter Bache); Liszt's "Angelus," for strings alone; Liszt's Scène Dramatique, Jeanne D'Arc," &c. Orchestra of 85 Performers; Choir of ico Ladies. Vocalist-Miss Alice Barbi. Conductors-Mr. ED. DANNREUTHER and Mr. WALTER BACHE.-Stalls, 10s. 6d. ; Balcony, 3s.; Admission, Is. Stanley Lucas, Weber & Co., 84, New Bond Street; Chappell & Co., 50, New Bond Street; usual Agents; and Austin's Ticket Office, St. James's Hall. WITH 25 PERCENT DISCOUNT FOR CASH OR 15 PER MONTH SECONDHAND100 Per Month ON THE 3 YEARS BORD'S PIANOS RGANIST and CHOIRMASTER.-RE-ENGAGE OR and conductor. Address, R.A.M., Messrs. Weekes & Co., Hanover Street, AUCTION, at their House, 47, Leicester Square, W.C., on THURSDAY, February 5th, and following day, at 10 minutes past 1 o'clock precisely, the first portion of the extensive STOCK of MUSIC of the late Mr. WILLIAM ROBINSON, of 369, Strand, and 95, St. Martin's Lane, W.C. TH HE "PERFECT" HYDRAULIC ENGINE for supplying Wind to Church, Chamber, American Organs, and Pedal Harmoniums, from the largest to the smallest made. Manufactured with all the latest improvements by J. F. BLENNERHASSET, are compact, effective, and cheap; they are made of gun metal, and will work for years, entirely superseding hand blowing, and require only a very small amount of attention to keep in the most perfectly reliable condition. Mr. Blennerhasset has fitted them to numerous Instruments up to Four. Manuals, and can give many references. May be seen every day at the "Royal Aquarium," where they supply the Large Organ, by Jones of Fulham, during the Recitals and Concerts. Estimates for the Engines, separately or for fixing, and all necessary work supplied free. Call and see it at work at Mr. Blennerhasset's Studio, supplying his Three-Manual Practice Organ, pronounced by competent Judges to be the most unique in the Metropolis; and where in a comfortably appointed apartment you can practise for an hour for ONE SHILLING, together with the privilege of using an extensive library of music. Note the Address:J. F. BLENNERHASSET, IA, VERNON STREET, PENTONVILLE, LONDON, W.C. MENT wanted, at Easter. Home or abroad. Well-known performer Two minutes' walk to the right from the King's Cross Metropolitan Regent Street, London, W. Railway Station. E. H.HEINKE, 40, King's Road, Peckham-TRADE TERMS to the Clergy off every make of Pianofortes, American Organs |