The Era from London, Greater London, England • 13

June 27, 1885. THE ERA. 13 TAL PALAO I week ending July 4th. June 30th. Mr Charles Collette, THE COLONEL.

iiTHNESDAT, July 1st. great Fireworks by C. T. Brook and Co. Mr and Mrs Gorman Reed's Entertainment.

JH0ESDAY, July 2d. Great Police FBte. Mr Charles Collette MY AWFULDAD. Balloon Ascents: Variety Entertainments, Police Minstrels, SAIUBDAY, July 4th. Great Hose Show.

Fete of German Gymnastic Society. Comedy, OPEN HOUSE by Vaudeville Company. Lewisham Bicycle Amt Aquarium, 3u? mu vivuis; ravinon so. ftrmmds in full Summer Beaut Yi.it. ptra charge), Admission toPalace, Monday to Friday, One Shilling Daily Saturday Seven shillings and Sixpence, or by Ticket purchased before the Day' Fire Shiilinss or by Season Ticket.

N.B. The admission after ni. on Saturday, July 4th, will be One Shilling. THE IN AMEBIC A. discussed in them, we print the following extracts from two New York dramatic "Since last week there have been a number of interesting funnoS3 lhC mtd We lab0red tS week ago that Messrs Gilbert and Sullivan and nrSpiLTj te.Tould.

of course, give Mr John Stetson some protection for his purchase of the piece. They have sold him the American rights for certain considerations, and, to bind the bargain, Mr Stetson has sent on his check to England for a hJwa, Wnt TV Evidetltly Stetson considered that he was buying rights that amounted to something eS0U' one wei after Stetson settled his contract by cable the libretto of The Mikado, published in London for general circulation, made its first appearance in America. Now it was precisely on the strength of the non-pubhcation of this libretto that Mr Stetson consented to part with his check and made the agreement by which The Mikado I Flfth-avenue Theatre for four weeks on kuew ver' wel1 that the was published, and that, therefore, it was public property in America. Our readers are, of course, by this time acquainted with the status tl0iugn Anything that is published abroad consent of the author is free property here. Whatever we may say about the honesty or dishonesty of taking advantage of such a law, there the law is, and we can't expect private citizens to be any more honest than our national legislative body.

If Congress approves an act it is quite natural that American citizens should take advantage of it. At any rate, when the contract was made with Mr Stetson on that basis, the publication of the libretto had not taken place England. We now have this libretto in our possession, published by Chappell and of Bond-street, the largest firm or librarians in London. Naturally, no such publication could take place without authority. "Thus the last rights that Mr D'Oyly Carte could sell for America have been voluntarily abandoned by him.

In plain language Mr Stetson has been stuck. His rights to The Mikado are worth no more than the mere fact that D'Oyly Carte will bring over to this country a special company to play in it. 1 here is a slight possibility that the company may draw money. Nothmw elsfi will Ktt ai iil.j i ST. JAMES'S HALL.

PICCADILLY. mHE MOOEE AND BURGESS MINSTRELS' I New and Brilliantly Successful Programme. EVERY NIGHT, at 8 0. MONDAY, WEDNESDAY. SATURDAY, at 3 0 and 8-0 The Eminent American Humourist Mr W.

P. SWEATNAM will appear at every Performance. Tickets and places at Austin's Office, St. James's Hall. No fees.

and IK. REED'S MRS. GERMAN ENTERTAINMENT. MIS3 JTJLIA MTJSCHAMPS CONCERT. The Marlborough Rooms were hardly large enough'to hold all the friends and admirers of Miss Muschamp on Saturday afternoon, and they consequently overflowed to the staircase and to any odd corner where a sight of the platform could be obtained.

Although the audience consisted mainly of the fair sex the applause was extremely cordial. Ladies risked their gloves without fear of the consequences in expressing their satisfaction with Miss Muschamp's playing and with the vocal efforts of the various artists. Miss Julia Muschamp was heard in the Andante and Rondo Capriccioso of Mendelssohn and in the pretty fantasia of Gottschalk entitled "Dernier Amour," which the young lady played with graceful ease, and with a full command of the keyboard, which enabled her to render it with the sentiment as well as the mechanical execution required. This piece came late in the programme or it would have been admired and applauded still more. But Miss Muschamp had every reason to be pleased with the flattering reception she met with, for it was evident the approval of the audience was genuine, and not merely a friendly demonstration.

Miss Muschamp will, no doubt, secure greater favour still as her talents become better known. The programme was varied in every possible way by vocal and instrumental pieces, many of them very attractive, including a daet for pianoforte and harp upon melodies from Meyerbeer's well-known opera Les Huguenots, and played by Miss Muschamp and Mr Oberthiir. T.his gentleman also gave as a solo for the harp his own clever and effective piece called "Clouds and Sunshine," in which some pretty and effective contrasts of effect are introduced with taste and skill. Another instrumental solo was Vieuxtemps' Ballade and Polonaise," for violin, by Signer Scuderi, who, although not in his best voice, sang the "Mandolinata" gracefully. Mdlle.

Marie de Lido introduced the cavatina from Gounod's opera La Seine de Saba with considerable effect, and also sang "Lost," by L. Engel, with no little success. Madame Teltna sang the well-known scena "Softly sighs," from Der Freischiitz, receiving great applause, and being well accompanied by Mr Wilhelra Ganz, whose valuable services were often in request during the concert. Mr Lindsay Sloper also assisted in the same department. Mis3 Maud Martin sang a ballad of Signor Deuza, entitled "Golden Stars," and the bolero from Verdi's Sicilian Vespers with good effect.

Madame Osborne Williams, in Cowen's charming song The Reaper and the Flowers," and the homely ballad my sailor boy," gained cordial applause, and the genial humour of Signor Zoboli delighted the audience greatly in Donizetti's buffo song "Viva il Matriomonio" and Fioro-vapti's "Femimine." Signor Zoboli's animated manner, voluble utterance, and dramatic power added much to the effect of the lively music, which, after all that has en said against the school to which it belongs, has still the power to please and amuse. Mr Bernard Lane in the popular song which be has made his own, "The old and the young Marie," wa3 warmly applauded. He was set down for a new song by Signor Randegger, but sang Clay's pretty ballad My bark is ready" with his customary grace and style. Mr Henry Walsham was also one of the most popular vocalists of the concert. Mr Oscar G.

Noyes sang songs by Rossini, Carissimi, and Scuderi. We have verified, we think, our statement as to the variety of the items, and the proof that they were appreciated was the constant applause bestowed by the crowded audience. customed us. The instru-Uken indfvS0 best olass and the performers, In short wfth If7' ar6by n0 means excessively skilful, dance L2 of its national feeling for second-me Whle rchestra is both ver-ratedDand btlV Thy Strauss orchestra has been engaged merciflTe tT the Inventories is a purelycom-EnS Lh Mi, Strauss is one with wch the as being that celebrated cZFucttl aw5 and thtthat the person who ToW owhes ra at the Inventories is not the great FdnW TS hlmself' but his ingest brother thforLl5 Ie7 little difference in the minds of tZ V10 flock t0 the exhibition at South Ken-J ame Strauss llas simP1y beei1 us3d as a 11 Lr rtflnS medium "to "pull in the public." That the pubbc taste is owered by having presented to it an mfenor article with a deceptive brand, and that many meritorious English artists are kept out of employment try this and similar dodges," matters little to the astute Executive Council of the Inventions Exhibition. We congratulate them on their sharpness as commercial speculators.

But there is another view of the subject which does not appear to have occurred to these gentlemen. Ihese exhibitions were not meant to be private Oremornes, conducted for- the benefit of a few ingenious promoters. When her Majesty the Queen and the Prince ot Wales gave their patronage and presidency to these exhibitions, they did so, we loyally believe, under the idea that by so doing they would be conferring certain benefits on a large number of their subjects. And amongst these proposed benefits must have been placed public improvement generally, and the supplying of occupation to many Englishmen. How are these two aims carried out in the engagement of the orchestra and of the band of the Pomeranian Hussars at the Inventions Exhibition, and in the' engagement of the former to play at the State ball at Buckingham Palace on Friday last 1 How does the Prince of Wales reconcile his responsibilities as the founder and patron of the Royal College of Music, which is throwing yearly so many English musicians into the market, with his position as president of an Executive Council which is doing its best to shoulder English performers and English orchestras out of it which is taking advantage of the "gullibility" of the masses of the English public in matters musical to play that never-failing card, the musical foreigner, with the brazen assurance of the most hardened commercial capitalist and which coolly pays away 6,000 of English money for an article, which, now that they have got it, proves inferior in quality to what could have been purchased in England at half the price? The only remedies in the hands of English musicians are union and apitatinn.

T.pf, all ti Under the Management of Mr ALFRED REED and Mr CORNEY GRAIN. Monday, at Eight, First Time of A PRETTY BEQUEST written by T. Malcolm Watson, Music by Hamilton Clarke and an entirely New Musical Sketch by Mr Corney Grain, entitled ETON HaBROW. Concluding with A NIGHT IN WALES, written by Herbert Gardner, Music by. Corney Grain.

Monday, Wednesday and Friday at Eight Tuesday, Thursday, and Saturday at Three. Stalls 5s. and 3s. Admission, 2s. and Is.

Booking-office open from 100 till 6-0. No Fees for booking seats. ST. GEORGE'S HALL, LANGHAM-PLACE, W. MASKELYNE and COOKE'S ORIGINAL ILLUSORY ENTERTAINMENT Stands Pre-eminent.

Ihc Ejjyptian Hall is as well attended now as it was fourteen years ago when Maskelyne and Cooke first took possession. Every Afternoon at Three, and Tuesday, Thursday, and Saturday Evenings at Eight. 0 ulmc mere iviu nave ueen naic-a- 'dozen companies playing the opera. Mr Duff is determined to do it t.te. SfanrJar-il XI i ROYAL GENERAL THEATRICAL FUND.

The FORTIETH ANNUAL DINNER will take place at the FREEMASONS' TAVERN on WEDNESDAY, July 22d next. S. B. BANCROFT, will preside. The musical arrangements under the direction of Mr Wm.

Ganz. Application for Tickets Is. each) to the Secretary, C. J. Davies, Office of the Fund, Catherine-chambers, 8, Catherine-street, Strand.

ROYAL GENERAL THEATRICAL FUND. Instituted January 22d, 1839. Incorporated by Royal Charter, January 29th, 1853. Patroness, HER MOST GRACIOUS MAJESTY THE QUEEN. Patron.

HIS ROYAL HIGHNESS THE PRINCE OF WALES. Trustees, HENRY IRVING, ALFRED de ROTHSCHILD, Esq. J. L. TOOLE, Treasurer, THOMAS WIN BOURNE, For GRANTING PERMANENT ANNUITIES TO ACTORS, ACTRESSES, CHORUS SisoKiis, Dancers, Pastohimists, and Prompters also Stage-Managers, Treasurers, and Scenic Artists, who AR2 NOT MEMBEKS OF THE DRURT-LANE AND COVEKT-GARDEN FUNDS.

ADMISSION FEES NOW ABOLISHED. Objects. The object of this Association is to raise by subscriptions from the Members thereof, voluntary donations and bequests from Members and others, and by Public Dinners and Theatrical Benefits, a stock or fund for making a provision, by way of annuity, for aged and incapacitated Members, and also for Funeral Expenses. Secretary, CHARLES J. DAVIES, CATHERINE CHAMBERS, 8, CATHERINE-STREET, STRAND, W.C., to whom all communications may be addressed.

jealousies be for the moment laid aside, and let a general vmiuo ul yiuucsi, ue raiseu mat suaiiiorce me aumorities, for very shame, to annul their present discreditable arrangement. There can be no possible difference of fininintl TyTuvll, miiKimnnD -t. All that is necessary is that some man of "light and leading" in the musical profession should put himself at the -2, auu buere is mreiuy a project on hand to do it for ten cents admission at the New Park Theatre Mr Stetson in the present aspect of affairs could do nothing wiser than to stop the payment of the check to Mr Carte, and make up his mind at once to fill his time at the Fifth-avenue theatre with something else than The Mikado. It is certain to be a non-paying attraction. So far Mr John Stetson is the victim.

It seems to us that it would have paid Gilbert and Sullivan better to have reserved the libretto until its American use wa3 of no further service, for certainly not very much money can be made out of it over there, while on the American Tights to a popular opera there might have been a very large amount of money for everybody. Stetson is an obstinate person. He may persist in believing that The Mikado is a good thing. We think it right to warn him that he has bought a pig a poke. The muddle about Gilbert and Sullivan's Mikado grows worse every day.

It was thought all along that Mr D'Oyly Carte, who certainly enjoys the reputation of being a very shrewd and experienced manager, kept the original libretto, so as to prevent anybody from producing the opera with Gilbert's original words. It now appears that the entire book has been published, containing the music, words, recitatives, In fact every portion of the opera is public property, except Sullivan's orchestral score, which has not yet been published. But there are dozens of musical cobblers here in New York who will, for a very small consideration, assist in this actof piracy, and patch up some sort of instrumentation for any manager who is inclined to steal other people's property. Mr Stetson is the legitimate owner of the operetta in this country. He has already paid large sums of money to D'Oyly Carte, and that gentleman ought surely to know how to protect Mr Stetson.

Somebody will get badly hurt in this business, and we fear it will be Mr Duff, who will be a heavy loser, having invested already a large sum in the very expansive costumes, scenery, If Mr Duff is ready with The Mikado before Mr Carte at the Fifth-avenue! Theatre, then Mr Stetson will apply for an injunction upon Mr Duff's production. And if he can uphold that injunction until he has given the opera which he has purchased at his own theatre, then little Duffy will be a very badly gone yonng man. We hope there is enough law left in this country to protect lawfully acquired property. We do not speak with the least bitterness about Mr Duff, who is an intelligent, hardworking, young man, but if the large sum of money which he is likely to lose only teaches him to leave things alone that don't belong to him he will not pay too dear for the lesson." Another American journal reminds Mr Duff that he has frequently spoken in strong disapprobation of the conduct of other persons who have on former occasions behaved as he is now credited with proposing to behave. Mr D'Oyly Carte has had a long and hard fight with American dramatic pirates and we trust that, thi3 time, he will come off victor in the struggle with those who threaten to "annex" his valuable property.

WARRING-TON PUBLIC HALL. head ot the movement, and that the pressure brought to bear UDon influential individuals be sufficientlv sipadv and sufficiently severe. THE ALBERT PALACE. SATURDAY, JUNE 27, 1885. A Fawcett Memorial Concert, having for its object the raising of funds for the Fawcett Memorial, was given at the new Albert Palace on Saturday last.

Mr Alfred Hollins, who both at the organ and the pianoforte exhibits that capacity for music frequently found in the blind, was the principal performer on this occasion and a choir and a number of soloists from the Koyal Normal College and Academy of Music for the Blind took part in the concert; The augmented orchestra of the Palace, under the able direction of Mr A. C. Mackenzie, also contributed greatly to the completeness of the programme. Mr Hollins has recently played by command before the Crown Princess of Germany at Berlin, and he chose to repeat some of the compositions that gained him the applause of German clitics. His first selection was the first movement of a symphony in minor for organ and orchestra, written by Alexander Guilmant, the well-known organist of Holy Trinity, Paris, and known as Symphony No.

1, which he followed with a thoroughly masterly performance of Schumann's grand concerto in A (Op. 54), the only concerto Schumann ever wrote, and which, in the richness of its melody and ingenious orchestration, presents the master in his best mood. The pianoforte part is extremely difficult, and requires from the performer great energy and exactness. Mr Hollins's playing, perfect in manipulation and expression, was irreproachable, and at the termination of the 'MY SWEETHEART." THE LAST APPEARANCE OF MINNIE PALMER. There will soon.be missing one bright particular star from our dramatic horizon, a lithesome lady, who, by winsome manners and natural talent, enhanced by feminine beauty, has won a a good many hearts in her time.

This exquisite actress, singer, and dancer has shown that it is possible to give delightful performances as a comedienne without that suggestiveness which is unfortunately connected with all such characterisations by French actresses. Miss Minnie Palmer sings, dances, prattles and acts the unformed country lass with the exquisite taste that comes from innate delicacy; whatever she does in the exuberance of natural spirits is dainty, not loud, and so delicate is the perfume of her chic that the veriest saint might go see her and discover nothing contrary to that feminine charm which belongs to true womanhood. My Sweetheart is a play pretty well known by this time it has its incoherences, and is not a very exalted drama but it paints a few realistic life scenes in a most practical fashion and endows the centre figure, Tina, with a naturalness that tells more on the public than a hundred melodramatic monstrosities. There is a subtle vein of irony in this play, which is often missed in high-class comedies, and to a clever actress it offers all the chances she can llesire for the display of unusual talents. Minnie Palmer possesses these and a dainty vividness of conception that render her superlatively fascinating.

Minnie has become incorporated in Tina, and has made her an idealistic realisation that has touched the bold Westerner, the languid Southerner, the Northern sceptic, and the New England doubter it has moved the heavy Scotchman and the stolid Englishman, and is likely to touch the tender spot in a great many more nationalities, for, as a lady admirer expressed it, "it is so cute and so natural." On Saturday evening last the dull old Fourteenth-street Theatre was for the last time enlivened by the flashes of this dramatic sunbeam, and before a good and most friendly audience. Minnie Palmer once more made love in her own charming fashion, kissed her hand to the boys, made her courtesy to the ladies and sang some pretty airs. Mr Arnold aided her well as Tony, especially in one of those topical songs that are the delight of our present generation. "They'll be angels by-and-by was applied to a good many people that are likely never to see the angelic wings attached to them. Had Minnie Palmer so wished it, she could have become an operatic singer, so sweet and good is her voice, and so true her style had she made up her mind to become a dancer, her light figure and beautiful spring" would have enabled her to distinguish herself but she has been content to do all things moderately and unite her various accomplishments in one sweet bouquet.

By it she has obtained an immense success, for her style has gone straight to the hearts of all, and she has not merely astonished people, but she has pleased and fascinated them and has given them a happy hour, while appealing to their good taste and their artistic feeling. This is the secret of Minnie Palmer's success, a success that is likely to follow her in her travel round the world, which she i3 about to make under the care of her mother and her indomitable and energetic manager, John Rogers. Minnie Palmer goes out to these various peoples as a type of dainty American beauty and graceful womanhood, and the country can be proud of her. Her journey comprises two years, and is laid out in the following manner. Miss Palmer sails on June 13th in the White Star steamer Germanic.

She goes for one week then makes a tour in Germany and Switzerland, follows up with Scotland, Ireland, Wales, and London for twelve weeks. From there to France, Italy, Egypt, Arabia, India. Aiwfrfllla Vuw Our Warrington correspondent has supplied the following The directors of the Warrington Public Hall have wisely determined to associate their fine building more intimately with dramatic performances. To achieve this end the directors have called in the services of Mr Alfred Darbyshire, F.I.B.A., who has been so long intimately associated with theatrical architecture, and to whom Manchester owes its last new theatre, the Comedy. Plans have been prepared which have resulted in extensive and important alterations and additions.

The platform at the organ end of the large hall has been removed, and a new permanent stage erected in its place, supplied with all the necessary conveniences and mechanism for the production of important "pieces the ground underneath has been excavated to a proper depth, and small dressing rooms and other conveniences provided which are in immediate connection with the stage, by -means of a fireproof staircase. On the "prompt" side of the stage are the new dressing rooms fitted with every convenience, and provided with a separate baggage entrance which leaves Jhe stage entrance free to the artistes and the hall keeper. The secretary's office is situated in immediate proximity to this baggage entrance, and close to the door in the side street. The front of the new proscenium is being treated in harmony with the Italian character of "the hall, which was designed by the late Mr Edward Walters, to whom Manchester is indebted somewhat lengthy work he was awarded the heartiest applause. His next piece was Liszt's concerto, also for pianoforte and orchestra, No.

1 in flat. This work is in four sections, and has the character of a rhapsody. It is brilliant in the transformations its themes undergo, and especially in its peroration. It is a striking example of Liszt's power as a writer of music that constantly suggests innovations, but of the most successful kind. Its execution by Mr Hollins was that gentleman's best effort during the day, and the finale was; followed by a burst of enthusiastic applause.

Another blind pianist, Miss Jeannie Gilbert, 'gave Sterndale Bennett's graceful capriccio (Op. 22) for pianoforte and orchestra. Miss Gilbert treated it in a scholarly way, omitting none of the opportunities it gives for delicate touches of light and shade, and her manipulation was perfect, and was rewarded by a hearty recall. The only other important instrumental work was Mr Mackenzie's second Scotch rhapsody "Burns," in which the composer, by inter-wearing "Scots wha hae," "She's fair and fause that causes me smart," and "I coft a stane of Haslock woo'," deals with three phases of Scottish character the martial, the pathetic, and the jovial. The ingenious evolution of the airs and their occasional combination in eccentric forms are the principal features of a work that displays the composer's capacity for faithful orchestration, governed by a conscientious regard for what is correct in harmony and rhythm.

The piece was the last item of a long concert, but. those who remained to listen to it gave it spontaneous recognition. The programme was varied by choral performances and a few songs. A double choir of the blind collegians sang with well-balanced force, under the leadership of Dr. F.

J. Camubell. Psalm "Judge me, God" (Men ENGLISH AND FOREIGN MUSICIANS. In the advertising columns of The Times one of the most prominent advertisements is that of the Royal College of Music. An orchestral concert by the pupils of this establishment was held last Wednesday evening, under the special patronage of the Prince of Wales, the proceedings (as it was advertised) being devoted to one of the Prince's charities." There is at present a direction in which such charity might indeed be usefully bestowed.

It might be well applied to relieving the wants of some of the great army of unemployed English musicians who have been thrown out of work by the combined causes of the collapse of Italian opera in London and by foreign competition favoured by the ignorance of the general public, and by the advantage taken of that ignorance, for mercenary purposes, by clever wire-pullers, aided and abetted, however innocently, by certain, great personages who have given the support of their names to the actions of these individuals, if they have not themselves had anything to do with the matter. It was not long since our greatest living authority in such matters, Sir Arthur Sullivan, expressed his anxiety as to the future of the large number of young men and young women who are being trained as musicians at the Eoyal Academy of Music and at the Guildhall School. He pointed out the probability of the supply of trained musicians exceeding the demand, and this feeling of anxiety is not confined to the talented composer of The Mikado. It needs but a small acquaintance with musical 'natters, and an ordinary power of calculation, to convince anyone who takes the trouble to reflect upon the subject 'hat all these young people could not possibly find employment as professional musicians, even were the English market solely reserved for national products, out, with illegitimate foreign competition thrown into the scale, the result is rendered tolerably certain. A large proportion of English musical artists must live in an intermittent state of poverty and idleness.

Let us not be misunderstood. We have not the smallest objection to free trade in artistic, as in commercial, matters. Were the British public, as a class, capable of ludaing of the relative merits of an English and a foreign orchestra, there would be no great harm in indeed, much good might result from such competition. If the Strauss orchestra which has lately been playing at the Inventories had been chosen on its merits out of all the best orchestras of the Continent, and had won its election in iair musical combat with our best orchestras, we should Et grumble at the result though, even then, if the dmerence were but an ounce of excellence one way or other, we should have thought that patriotism might liaye beeu permitted to turn the scale in favour of our kUow countrymen. But, as a matter of 'fact, the Strauss orchestra is only equal to our best in its execution of dance music, and immensely inferior to in music of a superior sort.

This was shown at a concert at the Albert Hall, when the Strauss orchestra for its palatial warehouse architecture handsome pilasters name eacn siae or tue proscenium opening and terminate in foliated capitals, the actual stage opening being finished with a 'rich architrave in fibrous plaster. The galleries have been cut away, and now finish against the new proscenium wall; thus the whole width of the hall is available for stage area. This increase in working area will admit of special productions, and enable the directors to complete arrangements with companies hitherto shut out from using the Public Hall. The new conditions of the hall involve serious considerations as to ventilation; whilst provision is made for fresh air supply, an exhaust is provided in the centre of the ceiling by means of a strong sun-burner. This is fixed in the centre of a coved panel, and iwill form a handsome feature in the hall.

The present small hall is being considerably altered, and is being converted into a. central entrances or assembly room, from which are approaehed on either side the retiring rooms for ladies and gentlemen, which also form ample and convenient cloak-rooms. The alterations throughout are very complete and effective, and will render it thoroughly suitable for all kinds of dramatic representation and theatrical enterprise. Warrington will henceforth be able to secure a display of the best talent and best work of the stage. The booking of dates is very spirited, and already includes Barry Sullivan, The Private Secretary, Milton Rays, My Sieeetheart, The Mikado, Adamless Eden, The hall is to be reopened by the Warrington Amateur Dramatic Society in August.

delssohn), and the same master's "Why rage fiercely the heathen." They also gave a madrigal, "The Silver Swan," and two of Mr Caldicott's humorous glees, The House that Jack built and Jack Horner," the last in response to an encore. The voeal soloists were Mr Moncur, an agreeable tenor, who sang the recitative and air from the Creation, "In native worth," with good effect; Miss Campbell, who gave "The Cradle Song" and Rubinstein's "Lark and Mr Fairchild, who sang Gounod's The Smith so tunefully as to obtain an encore, when he gave the florid and difficult "Rover," displaying a tuneful baritone voice, Mi-Mackenzie conducted the whole of the instrumental works, being ably seconded by a well-selected orchestra. Amongst the patrons of the concert present were the Duke and Duchess of Westminster, who occupied the state box. After the concert, Mr Arthur Hollins gave an organ recital, and later a popular concert was given in the central hall, the vocalists being Miss Jeanie Ross and Mr Stedman's juvenile choir. Mr Howard Reynolds and Mr A.

J. Caldicott gave cornet and organ solos. The open-air promenade concert in the grounds of the Palace, which were brilliantly illuminated for the occasion bv electric and coloured lights, was the final feature of a uamuwiun i.sjaiius, returning to America via San Francisco, and landing from thistourround the world in May, 1887. Surely it is not necessary to say that Miss Palmer will be received back with honour and delight, for she has gained her laurels by honest endeavours to please and amuse the public. Those who witnessed the pretty and enthusiastic performance of Saturday last must admit that Miss Minnie Palmer's support is excellent and deserves mention, containing, as it does, several true artists it is only a pity that her last appearance was given at a theatre where courteous manners are not considered a necessity, and where Miss Palmer's brilliancy was decidedlv dimmed.

Amelia B. Lewis, Freund's Magazine, New York, "June 0th, 1885. In Re Gaiety. Theatke Company (Limited). This was a petition by Mr James Willing for the compulsory winding up of the Company.

It came before Mr Justice Pearson in the Chancery Division on Saturday last. The petitioner was a creditor for 2G8 8s. 2d. The debt was not disputed. The petition alleged that the company were unable to pay its debts.

It was stated that several actions were pending against the Gompany, and that the petitioner would therefore lose bis opportunity unless a winding-up order was now made. The assets were the lease of the theatre. Mr Justice Pearson suggested that the lease might turn out to be valueless, and stated that he had a great objection to sending a petition to chambers for the appointment of a liquidator, when in the result it was found there were no assets. At a later period of the day his lordship made the order, but directed that no proceedings should be taken under it without his leave in chambers. A numerous company assembled in the galleries and on the terraces of the Crystal Palace on Thursday, in spite of the cold weather, to witness the weekly display of fireworks given by Messrs Brock on the lawns in front of the fountains.

The feature of the eveniug represented a naval and military spectacle dlustrating the bombardment of Dover. Makkied, on the 21th at7Livcrpool, Richard Warner, musical agent, to Mibs Lizzie Somers. Aschehbeeg and Co. send a very pretty serenade, the words bv Edwin Arnold, and the musieJa-v Marie bountiful supply of entertainments. The managers having now got the building into good working order are making energetic efforts to provide innocent amusements for the public.

That old favourite, the identical diving-bell of the Polytechnic, is amongst the latest additions to the Palace, and an appropriate tank is being constructed for its reception. Illustrations of scientific ballooning are promised, and next Saturday the English-born orchestra of the company will give a programme of Strauss music by wiiy of friendly rivalry with the Viennese orchestra at South Kensington, Kingston. "Tell Her" is the titleT-and js. so gracefully written that it is sure of a wide acceptance' in the musical world. "Cinderella," by Ethel Hawaden, is a pleasing ballad.

"The Angel's Whisper is a new setting of the words of Samuel Lover by Eugene Art6t. It has the true spirit of the words but, somehow, when we have accepted a popular melody in association with pretty verses it is most difficult to take kindly to the new version. We may, however, do M. Artot the justice to say that his music is clever and expressive. "Atalanta is a pretty pianoforte piece by Mabel Bourne, reacted four selections of a different class to those Vt lr programme.

Without going into technical ti we may at once say that in accord and: totality Strauss orchestra is far below the standard to which.